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丕賱賳赖丕賷丞
Samuel Beckett was awarded the Nobel Prize for Literature in 1969; his literary output of plays, novels, stories, and poetry has earned him an uncontested place as one of the greatest writers of our time. Endgame, originally written in French and translated into English by Beckett himself, is considered by many critics to be his greatest single work. A pinnacle of Beckett's characteristic raw minimalism, it is a pure and devastating distillation of the human essence in the face of approaching death.
100 pages, Paperback
First published April 1, 1957
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About the author
Samuel Beckett
845听books6,334听followersSamuel Barclay Beckett was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in France for most of his adult life. He wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.
Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the "Theatre of the Absurd". His work became increasingly minimalist in his later career.
Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which鈥攊n new forms for the novel and drama鈥攊n the destitution of modern man acquires its elevation". In 1984 he was elected Saoi of Aosd谩na.
Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the "Theatre of the Absurd". His work became increasingly minimalist in his later career.
Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which鈥攊n new forms for the novel and drama鈥攊n the destitution of modern man acquires its elevation". In 1984 he was elected Saoi of Aosd谩na.
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November 18, 2021
Fin de Partie = Endgame: a play in one act, Samuel Beckett (1906 - 1989)
Endgame, by Samuel Beckett, is a one-act play with four characters. It was originally written in French (entitled: Fin de Partie);
Beckett himself translated it into English. The play was first performed in a French-language production at the Royal Court Theater in London, opening on 3 April 1957.
It is commonly considered, along with such works as Waiting for Godot, to be among Beckett's most important works.
Characters:
Hamm 鈥� unable to stand and blind.
Clov 鈥� Hamm's servant; unable to sit. Taken in by Hamm as a child.
Nagg 鈥� Hamm's father; has no legs and lives in a dustbin.
Nell 鈥� Hamm's mother; has no legs and lives in a dustbin next to Nagg.
毓賳賵丕賳賴丕蹖 趩丕倬 卮丿賴 丿乇 丕蹖乇丕賳: 芦亘丕夭蹖貨 亘乇诏乇丿丕賳: 賲賳賵趩賴乇 賱賲毓賴貙 爻丕賱1350貙 丿乇53氐禄貨 芦丌禺乇 亘丕夭蹖貨 亘乇诏乇丿丕賳: 毓胤丕丕賱賱賴 賳賵乇蹖丕賳貙 賳卮乇 賯胤乇賴貙 爻丕賱1392貨 丿乇84氐貨 卮丕亘讴9786001195020貨 趩丕倬 丿賵賲 賵 爻賵賲 爻丕賱1392貨 趩丕倬 趩賴丕乇賲 賵 倬賳噩賲 爻丕賱1394貨 趩丕倬 卮卮賲 爻丕賱1395貨 趩丕倬 賴賮鬲賲 爻丕賱1396貨 趩丕倬 賴卮鬲賲 爻丕賱1397貨 丿乇78氐貨禄貨 芦丿爻鬲 丌禺乇貨 亘乇诏乇丿丕賳: 賲賴丿蹖 賳賵蹖丿貙 鬲賴乇丕賳貙 倬跇賵賴賴貙 爻丕賱1383貨 丿乇116氐貨 卮丕亘讴 丕蹖讴爻-964777205貨 趩丕倬 丿蹖诏乇 賳卮乇 趩卮賲賴貙 爻丕賱1396貨 丿乇259氐貨 卮丕亘讴9786002297983貨 趩丕倬 丿賵賲 爻丕賱1397貨禄貨 芦倬丕蹖鈥嵷з嗏€� (爻鈥嵸団€� 丿丕爻鈥嵷€嵷з嗏€� 倬鈥嵺屸€嵸堌斥€嵷€嵸団€� 丕夭 爻鈥嵷з呪€嵸堌︹€嵸勨€� 亘鈥嵹┾€嵷€�) 賲鈥嵷坟辟堌� 賲鈥嵷斥€嵹┾€嵸嗏€屫� 倬鈥嵷й屸€嵷з嗏€屫� 亘乇诏乇丿丕賳 讴鈥嵺屸€嵷ж斥€嵷� 賳鈥嵷ж肛必з嗏€屫� 鬲賴乇丕賳貙 丕賳丿蹖卮賴 爻丕夭丕賳貙 爻丕賱1384貨 丿乇68氐貨 趩丕倬 丿蹖诏乇 賳卮乇 賯胤乇賴貙 爻丕賱1387貨 丿乇80氐貨 卮丕亘讴9789643418878貨禄貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱1974賲蹖賱丕丿蹖
毓賳賵丕賳: 丌禺乇 亘丕夭蹖: 亘丕夭蹖 丿乇 蹖讴 倬乇丿賴貨 丕孬乇: 爻丕賲賵卅賱 亘讴鬲貨 賲鬲乇噩賲: 毓胤丕丕賱賱賴 賳賵乇蹖丕賳貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 賳卮乇 賯胤乇賴貙 爻丕賱1392貙 丿乇84氐貙 賮乇賵爻鬲 賳卮乇 賯胤乇賴 爻丕賱1478貙 鬲卅丕鬲乇 賵 丕丿亘蹖丕鬲 賳賲丕蹖卮蹖 卮賲丕乇賴279貙 賳賲丕蹖卮賳丕賲賴 賴丕蹖 禺丕乇噩蹖 卮賲丕乇賴105貙 卮丕亘讴9786001195020貨 趩丕倬 爻賵賲 倬丕蹖蹖夭 爻丕賱1392貙 賲賵囟賵毓 賳賲丕蹖卮賳丕賲賴 賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖乇賱賳丿貨 爻丿賴20賲
亘讴鬲貙 毓賳賵丕賳 賳賲丕蹖卮鈥� 賳丕賲賴鈥� 蹖 芦丌禺乇 亘丕夭蹖禄 乇丕貙 丕夭 亘丕夭蹖 卮胤乇賳噩 诏乇賮鬲賴 丕爻鬲貨 丕賱亘鬲賴 賳賲丕蹖卮鈥屬嗀з呝団€屫� 乇丕噩毓 亘賴 倬丕蹖丕賳 亘丕夭蹖 卮胤乇賳噩 賳蹖爻鬲貨 丕賲丕 賵囟毓 芦倬丕蹖丕賳 亘丕夭蹖禄 丿乇 卮胤乇賳噩貙 賲賯丕蹖爻賴鈥� 丕蹖 亘丕 倬丕蹖丕賳 亘丕夭蹖 夭賳丿诏蹖 丕爻鬲貨 倬丕蹖丕賳 丿乇 丌睾丕夭 丕爻鬲貙 亘丕 賵噩賵丿 丕蹖賳 丕丿丕賲賴 賲蹖鈥屫囒屬呚� 丿乇 芦倬丕蹖丕賳 亘丕夭蹖禄貙 賴蹖趩 丕鬲賮丕賯蹖 賳賲蹖鈥屫з佖� 賵 丕蹖賳 賴蹖趩 丕爻鬲 讴賴 丕賴賲蹖鬲 丿丕乇丿貨 诏乇蹖賴 讴賳貙 诏乇蹖賴 讴賳 亘乇丕蹖 賴蹖趩貙 鬲賳賴丕 亘乇丕蹖 丕蹖賳鈥屭┵� 賳禺賳丿蹖貨 丿乇 丌孬丕乇 芦亘讴鬲禄 賳賮賵匕 芦丕爻鬲乇蹖賳丿亘乇诏禄貙 芦讴丕賮讴丕禄貙 芦噩蹖賲夭 噩賵蹖爻禄貙 賴賲趩賳蹖賳 賳賯丕卮蹖賴丕蹖 芦讴丕賳丿蹖賳爻讴蹖禄 賵 芦賲賵賳丿乇蹖丕賳禄貙 賵 亘賴 賵蹖跇賴 賲噩爻賲賴 賴丕蹖 芦丌賱亘乇鬲賵 跇蹖丕讴賵賲鬲蹖禄 丿蹖丿賴 賲蹖卮賵賳丿貨 丕睾賱亘 讴丕乇丕讴鬲乇賴丕蹖 芦亘讴鬲禄 卮亘蹖賴 賲噩爻賲賴 賴丕蹖 芦跇蹖丕讴賵賲鬲蹖禄貨 賵 丌丿賲賴丕蹖 卮毓乇 芦丕賳爻丕賳賴丕蹖 鬲賴蹖禄貙 丕孬乇 芦鬲賵賲丕爻 丕爻鬲乇賳夭 (鬲蹖.丕爻) 丕賱蹖賵鬲禄 賴爻鬲賳丿.貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 08/10/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 26/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Endgame, by Samuel Beckett, is a one-act play with four characters. It was originally written in French (entitled: Fin de Partie);
Beckett himself translated it into English. The play was first performed in a French-language production at the Royal Court Theater in London, opening on 3 April 1957.
It is commonly considered, along with such works as Waiting for Godot, to be among Beckett's most important works.
Characters:
Hamm 鈥� unable to stand and blind.
Clov 鈥� Hamm's servant; unable to sit. Taken in by Hamm as a child.
Nagg 鈥� Hamm's father; has no legs and lives in a dustbin.
Nell 鈥� Hamm's mother; has no legs and lives in a dustbin next to Nagg.
毓賳賵丕賳賴丕蹖 趩丕倬 卮丿賴 丿乇 丕蹖乇丕賳: 芦亘丕夭蹖貨 亘乇诏乇丿丕賳: 賲賳賵趩賴乇 賱賲毓賴貙 爻丕賱1350貙 丿乇53氐禄貨 芦丌禺乇 亘丕夭蹖貨 亘乇诏乇丿丕賳: 毓胤丕丕賱賱賴 賳賵乇蹖丕賳貙 賳卮乇 賯胤乇賴貙 爻丕賱1392貨 丿乇84氐貨 卮丕亘讴9786001195020貨 趩丕倬 丿賵賲 賵 爻賵賲 爻丕賱1392貨 趩丕倬 趩賴丕乇賲 賵 倬賳噩賲 爻丕賱1394貨 趩丕倬 卮卮賲 爻丕賱1395貨 趩丕倬 賴賮鬲賲 爻丕賱1396貨 趩丕倬 賴卮鬲賲 爻丕賱1397貨 丿乇78氐貨禄貨 芦丿爻鬲 丌禺乇貨 亘乇诏乇丿丕賳: 賲賴丿蹖 賳賵蹖丿貙 鬲賴乇丕賳貙 倬跇賵賴賴貙 爻丕賱1383貨 丿乇116氐貨 卮丕亘讴 丕蹖讴爻-964777205貨 趩丕倬 丿蹖诏乇 賳卮乇 趩卮賲賴貙 爻丕賱1396貨 丿乇259氐貨 卮丕亘讴9786002297983貨 趩丕倬 丿賵賲 爻丕賱1397貨禄貨 芦倬丕蹖鈥嵷з嗏€� (爻鈥嵸団€� 丿丕爻鈥嵷€嵷з嗏€� 倬鈥嵺屸€嵸堌斥€嵷€嵸団€� 丕夭 爻鈥嵷з呪€嵸堌︹€嵸勨€� 亘鈥嵹┾€嵷€�) 賲鈥嵷坟辟堌� 賲鈥嵷斥€嵹┾€嵸嗏€屫� 倬鈥嵷й屸€嵷з嗏€屫� 亘乇诏乇丿丕賳 讴鈥嵺屸€嵷ж斥€嵷� 賳鈥嵷ж肛必з嗏€屫� 鬲賴乇丕賳貙 丕賳丿蹖卮賴 爻丕夭丕賳貙 爻丕賱1384貨 丿乇68氐貨 趩丕倬 丿蹖诏乇 賳卮乇 賯胤乇賴貙 爻丕賱1387貨 丿乇80氐貨 卮丕亘讴9789643418878貨禄貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 爻丕賱1974賲蹖賱丕丿蹖
毓賳賵丕賳: 丌禺乇 亘丕夭蹖: 亘丕夭蹖 丿乇 蹖讴 倬乇丿賴貨 丕孬乇: 爻丕賲賵卅賱 亘讴鬲貨 賲鬲乇噩賲: 毓胤丕丕賱賱賴 賳賵乇蹖丕賳貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 賳卮乇 賯胤乇賴貙 爻丕賱1392貙 丿乇84氐貙 賮乇賵爻鬲 賳卮乇 賯胤乇賴 爻丕賱1478貙 鬲卅丕鬲乇 賵 丕丿亘蹖丕鬲 賳賲丕蹖卮蹖 卮賲丕乇賴279貙 賳賲丕蹖卮賳丕賲賴 賴丕蹖 禺丕乇噩蹖 卮賲丕乇賴105貙 卮丕亘讴9786001195020貨 趩丕倬 爻賵賲 倬丕蹖蹖夭 爻丕賱1392貙 賲賵囟賵毓 賳賲丕蹖卮賳丕賲賴 賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖乇賱賳丿貨 爻丿賴20賲
亘讴鬲貙 毓賳賵丕賳 賳賲丕蹖卮鈥� 賳丕賲賴鈥� 蹖 芦丌禺乇 亘丕夭蹖禄 乇丕貙 丕夭 亘丕夭蹖 卮胤乇賳噩 诏乇賮鬲賴 丕爻鬲貨 丕賱亘鬲賴 賳賲丕蹖卮鈥屬嗀з呝団€屫� 乇丕噩毓 亘賴 倬丕蹖丕賳 亘丕夭蹖 卮胤乇賳噩 賳蹖爻鬲貨 丕賲丕 賵囟毓 芦倬丕蹖丕賳 亘丕夭蹖禄 丿乇 卮胤乇賳噩貙 賲賯丕蹖爻賴鈥� 丕蹖 亘丕 倬丕蹖丕賳 亘丕夭蹖 夭賳丿诏蹖 丕爻鬲貨 倬丕蹖丕賳 丿乇 丌睾丕夭 丕爻鬲貙 亘丕 賵噩賵丿 丕蹖賳 丕丿丕賲賴 賲蹖鈥屫囒屬呚� 丿乇 芦倬丕蹖丕賳 亘丕夭蹖禄貙 賴蹖趩 丕鬲賮丕賯蹖 賳賲蹖鈥屫з佖� 賵 丕蹖賳 賴蹖趩 丕爻鬲 讴賴 丕賴賲蹖鬲 丿丕乇丿貨 诏乇蹖賴 讴賳貙 诏乇蹖賴 讴賳 亘乇丕蹖 賴蹖趩貙 鬲賳賴丕 亘乇丕蹖 丕蹖賳鈥屭┵� 賳禺賳丿蹖貨 丿乇 丌孬丕乇 芦亘讴鬲禄 賳賮賵匕 芦丕爻鬲乇蹖賳丿亘乇诏禄貙 芦讴丕賮讴丕禄貙 芦噩蹖賲夭 噩賵蹖爻禄貙 賴賲趩賳蹖賳 賳賯丕卮蹖賴丕蹖 芦讴丕賳丿蹖賳爻讴蹖禄 賵 芦賲賵賳丿乇蹖丕賳禄貙 賵 亘賴 賵蹖跇賴 賲噩爻賲賴 賴丕蹖 芦丌賱亘乇鬲賵 跇蹖丕讴賵賲鬲蹖禄 丿蹖丿賴 賲蹖卮賵賳丿貨 丕睾賱亘 讴丕乇丕讴鬲乇賴丕蹖 芦亘讴鬲禄 卮亘蹖賴 賲噩爻賲賴 賴丕蹖 芦跇蹖丕讴賵賲鬲蹖禄貨 賵 丌丿賲賴丕蹖 卮毓乇 芦丕賳爻丕賳賴丕蹖 鬲賴蹖禄貙 丕孬乇 芦鬲賵賲丕爻 丕爻鬲乇賳夭 (鬲蹖.丕爻) 丕賱蹖賵鬲禄 賴爻鬲賳丿.貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 08/10/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 26/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
February 14, 2025
This insightful play shows the surprisingly Christian face of an author so many label a nihilist.
Hamm, as his name suggests, is a solipsistic, ham-fisted petty tyrant.
How many tyrants do you know who are ONLY that way with their families, but "rage, rage against the dying of the light" once they have once again to take up their crosses of meekness in the Real World?
Probably quite a few.
I know I do.
So Hamm, as Dante would possibly say, is among the proximate damned. But WHY proximate?
Proximate, as being totally unaware of the evil within him; damned, as damningly evinced thus by his cowardice in the face of his failing powers. Old Age ain't no place for sissies, Mae West said, and he is a selfish and solipsistic sissy. Being old for him is Pure Hell.
The real thing, one bets, can't be too far.
Dante, I think, puts anger in a mediate circle of that place. But Beckett's Pozzo (from Godot) is probably freezing right now in the deucedly Satanic lowest chambers thereof.
For he KNEW what he was doing, alright!
And Beckett knew Dante inside out.
Yet, look at Clov...
He's completely aware of his own just acts (getting the right medication for his ingrate master Hamm at precisely the right time) and would like to complain, but he knows nobody's listening, so doesn't - Cloves go with Ham, get it?
Clov's pains are Purgatorial. He's a conscious (but sharp as cloves, and griping - and who doesn't complain, when you come right down to it?) Altruist.
Think all this ISN'T Dante-esque? Think again. Dante, along with Descartes (featured in his first young prose piece) were his Vade Mecum's. His role models. They showed him the Real face of the Real world of Reason.
I think, therefore I'm saved - through my hyper-awareness.
Now, we all know Beckett had few life rafts.
He played his life mostly by ear (though carefully planned the volubility of his early prose to become utterly taciturn by his late works)!
In other words, he took chances.
But he was confident we are ultimately saved through our totalizing self-knowledge -
And that guys like Hamm suffer even now for their ignorance, and deserve it -
And that those facts, for him, were sufficient reason for whittling his own necessities, and his writing, down to their naked bare bones.
When each one of us comes to his or her endgame in our advanced age, we wrongly accuse Fate of playing an evil joke on us.
But it's no joke.
We have to rid ourselves of ALL our excess ballast in preparation for our Final Journey Home.
Hamm, as his name suggests, is a solipsistic, ham-fisted petty tyrant.
How many tyrants do you know who are ONLY that way with their families, but "rage, rage against the dying of the light" once they have once again to take up their crosses of meekness in the Real World?
Probably quite a few.
I know I do.
So Hamm, as Dante would possibly say, is among the proximate damned. But WHY proximate?
Proximate, as being totally unaware of the evil within him; damned, as damningly evinced thus by his cowardice in the face of his failing powers. Old Age ain't no place for sissies, Mae West said, and he is a selfish and solipsistic sissy. Being old for him is Pure Hell.
The real thing, one bets, can't be too far.
Dante, I think, puts anger in a mediate circle of that place. But Beckett's Pozzo (from Godot) is probably freezing right now in the deucedly Satanic lowest chambers thereof.
For he KNEW what he was doing, alright!
And Beckett knew Dante inside out.
Yet, look at Clov...
He's completely aware of his own just acts (getting the right medication for his ingrate master Hamm at precisely the right time) and would like to complain, but he knows nobody's listening, so doesn't - Cloves go with Ham, get it?
Clov's pains are Purgatorial. He's a conscious (but sharp as cloves, and griping - and who doesn't complain, when you come right down to it?) Altruist.
Think all this ISN'T Dante-esque? Think again. Dante, along with Descartes (featured in his first young prose piece) were his Vade Mecum's. His role models. They showed him the Real face of the Real world of Reason.
I think, therefore I'm saved - through my hyper-awareness.
Now, we all know Beckett had few life rafts.
He played his life mostly by ear (though carefully planned the volubility of his early prose to become utterly taciturn by his late works)!
In other words, he took chances.
But he was confident we are ultimately saved through our totalizing self-knowledge -
And that guys like Hamm suffer even now for their ignorance, and deserve it -
And that those facts, for him, were sufficient reason for whittling his own necessities, and his writing, down to their naked bare bones.
When each one of us comes to his or her endgame in our advanced age, we wrongly accuse Fate of playing an evil joke on us.
But it's no joke.
We have to rid ourselves of ALL our excess ballast in preparation for our Final Journey Home.
July 24, 2018
Beckett wrote many strange plays, though sometimes the strange is needed to capture an aspect of reality that is, by its very nature, strange, mystical and untouchable.
Good literature, the very best of literature, makes you think and makes you imagine. When you read you put your own design on the book. You interpret it. The answers are not given to you, you must find them if they are, indeed, wanting to be found. Beckett gives you very little. I have some ideas about what the play may represent, but the point is it could resemble a great many things. It is not clear. It is like looking through a murky glass at an indifferent world that could be our own and not our own. With the Endgame it is for you to decide.
鈥淎ll life long, the same questions, the same answers.鈥�
And I鈥檝e decided three things based upon that rather important quote:
1. The world is evil
鈥淯se your head, can't you, use your head, you're on earth, there's no cure for that!鈥�
Hamm dreams of sleep, of being free to run and make love in nature and in the woods. The ideas in his mind are better than the reality he faces. As such a sense of depression permeates the play, a certain dissatisfaction with everything that is existence. The world is not kind. It is not always good to use and at our end it leaves us dissatisfied and unfulfilled.
Very much in the modernist mode, Beckett鈥檚 words capture the disillusionment that permeates his artistic era and, as ever, he captures it using the brilliance of absurdist theatre.
2. The Old world is dead
鈥淚 use the words you taught me. If they don't mean anything any more, teach me others. Or let me be silent.鈥�
Naggs and Nell, the older generation, are kept in trash bins in the corner of the room. It鈥檚 an apt symbol for the death of the old ways, for the old generation, as man moves into the modern world. They are incapable of moving forward so they are left to die in misery along with the values of the nineteenth century. The two have no pulse and blither about bygone days nobody wants to hear about. Their fond memories are mere garbage to their son Hamm. He does not care about their lives or their past experiences because they are dead.
3. The new world isn鈥檛 any better because life is absurd
Nothing really changes but remains perpetually the same. The sea, the sky, the stars and the horizon do not differ. Civilisation remains forever grey. There is no meaning to be found in any of it. Hamm and Clov will never represent something or be anything. And to think differently is only a delusion. A cold detached death is what waits for them, again, a meaningless death against a multitude of souls that have littered the endless dark over the ages.
鈥淗AMM: We're not beginning to... to... mean something?
CLOV: Mean something! You and I, mean something!
(Brief laugh.) Ah that's a good one!鈥�
鈥淣othing is funnier than unhappiness, I grant you that鈥� Yes, yes, it's the most comical thing in the world. And we laugh, we laugh, with a will, in the beginning. But it's always the same thing. Yes, it's like the funny story we have heard too often, we still find it funny, but we don't laugh any more.鈥�
Pessimism, hopelessness and desperation are what drip maniacally and slowly from the sad words in this play. As it progresses, it gets greyer with each line. The old world may be dead, though the new one is depressed and unhappy: it has no purpose.
Final Thoughts
Beckett would, however, read my decisions and probably tell me to throw myself into the sea. But Beckett鈥檚 dead and his words were written to elicit a response. He knew exactly what he was doing, the comical genius bastard that he was. Words do not get cleverer than his.
Good literature, the very best of literature, makes you think and makes you imagine. When you read you put your own design on the book. You interpret it. The answers are not given to you, you must find them if they are, indeed, wanting to be found. Beckett gives you very little. I have some ideas about what the play may represent, but the point is it could resemble a great many things. It is not clear. It is like looking through a murky glass at an indifferent world that could be our own and not our own. With the Endgame it is for you to decide.
鈥淎ll life long, the same questions, the same answers.鈥�
And I鈥檝e decided three things based upon that rather important quote:
1. The world is evil
鈥淯se your head, can't you, use your head, you're on earth, there's no cure for that!鈥�
Hamm dreams of sleep, of being free to run and make love in nature and in the woods. The ideas in his mind are better than the reality he faces. As such a sense of depression permeates the play, a certain dissatisfaction with everything that is existence. The world is not kind. It is not always good to use and at our end it leaves us dissatisfied and unfulfilled.
Very much in the modernist mode, Beckett鈥檚 words capture the disillusionment that permeates his artistic era and, as ever, he captures it using the brilliance of absurdist theatre.
2. The Old world is dead
鈥淚 use the words you taught me. If they don't mean anything any more, teach me others. Or let me be silent.鈥�
Naggs and Nell, the older generation, are kept in trash bins in the corner of the room. It鈥檚 an apt symbol for the death of the old ways, for the old generation, as man moves into the modern world. They are incapable of moving forward so they are left to die in misery along with the values of the nineteenth century. The two have no pulse and blither about bygone days nobody wants to hear about. Their fond memories are mere garbage to their son Hamm. He does not care about their lives or their past experiences because they are dead.
3. The new world isn鈥檛 any better because life is absurd
Nothing really changes but remains perpetually the same. The sea, the sky, the stars and the horizon do not differ. Civilisation remains forever grey. There is no meaning to be found in any of it. Hamm and Clov will never represent something or be anything. And to think differently is only a delusion. A cold detached death is what waits for them, again, a meaningless death against a multitude of souls that have littered the endless dark over the ages.
鈥淗AMM: We're not beginning to... to... mean something?
CLOV: Mean something! You and I, mean something!
(Brief laugh.) Ah that's a good one!鈥�
鈥淣othing is funnier than unhappiness, I grant you that鈥� Yes, yes, it's the most comical thing in the world. And we laugh, we laugh, with a will, in the beginning. But it's always the same thing. Yes, it's like the funny story we have heard too often, we still find it funny, but we don't laugh any more.鈥�
Pessimism, hopelessness and desperation are what drip maniacally and slowly from the sad words in this play. As it progresses, it gets greyer with each line. The old world may be dead, though the new one is depressed and unhappy: it has no purpose.
Final Thoughts
Beckett would, however, read my decisions and probably tell me to throw myself into the sea. But Beckett鈥檚 dead and his words were written to elicit a response. He knew exactly what he was doing, the comical genius bastard that he was. Words do not get cleverer than his.
April 7, 2017
Read for class*
Beckett is most definitely not for me. Oh well!
Beckett is most definitely not for me. Oh well!
![Profile Image for 漏hrissie 鉂� [1st week on campus-somewhat run-down].](/_next/image?url=https%3A%2F%2Fi.gr-assets.com%2Fimages%2FS%2Fcompressed.photo.goodreads.com%2Fusers%2F1610034740i%2F49071166._UX200_CR0%2C20%2C200%2C200_.jpg&w=128&q=75)
October 21, 2021
5 suffocating stars! 猸�
馃摙 A health warning (to start off the review on a note that would have met Beckett's approval in its genetic negation of happiness):
Beckett's writing has a deliberate asphyxiating quality to it - you will feel the full meaning of breathlessness - that is triggered by the idea of an eternally cyclical (and by extension, endless) existence. It is not generated by repetition itself, but by the repetition of repetition - the plethoric reiteration of it, as it were, that will leave no doubt as to its inexorability.
Enough, it鈥檚 time it ended, in the shelter too.
[Pause.]
And yet I hesitate, I hesitate to . . . to end. Yes, there it is, it鈥檚 time it ended and yet I hesitate to鈥�
[he yawns]
鈥攖o end.
Beckett's theatre of the absurd is of singular value within High Modernism as we know it: its epiphanic qualities are keyed down to the point of dizzying annihilation, via the persistent theme of Waiting for something significant to happen that never does. Whether we identify Beckett's literature as positing itself within an emergent philosophy of nihilism (there is an abundant use of the word "zero") and existentialism, or choose to analyse his select words within the circumference of their creation, the one element of his writing that is indubitably palpable and ubiquitous is the exposition of meaningless as all-engulfing and traceable in every human phenomenon. In this we are reminded of Shakespearian futility:
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
- From Macbeth
Of course, the important difference here is that in Beckett the protagonists are caught in the between: that tension between life and death, the latter being out of reach, an event that cannot happen. Like with the vaguely platonic metaphor of "the impossible heap" (it does not exist, but is merely constituted of single grains, therefore an idea that is not materially conceivable), life can only be grasped in its collection of moments. Linearity and rationality are here under assault, though seemingly as a matter of course, beyond human control.
Moment upon moment, pattering down, like the millet grains of . . .
[he hesitates]
. . . that old Greek, and all life long you wait for that to mount up to a life.
A pervading sense of senseless emanates from every word and concept, and their tireless yet tiring repetition; from the at times illogical word structures and use of ellipsis to denote hesitance, an attempt to retrieve meaning, and the ultimate observed emptiness within and without; the all-encompassing greyness, stillness, and the bare minimalistic set up. But also, finally, the punctuated laughter itself, as a dialectic reference to the humour that lies within the pathetic (the element of 'low comedy', the ridiculous in human nature).
HAMM We鈥檙e not beginning to . . . to . . . mean something?
CLOV Mean something! You and I, mean something!
[Brief laugh.]
Ah that鈥檚 a good one!
Intimately connected with the void and voidness of existence is a lingering weariness that registers the impossibility of things. Stillness and motionlessness prevail, as does a sense of fatal aloneness, also developed through the exasperated co-dependency between protagonist Hamm and Clov.
One other aspect that makes Beckett's text magnetic is the extent to which it invites close reading and analysis. Elements of intertextuality, to Dante's Inferno especially, are implicit yet powerfully integrated within the logic of his text.
馃馃馃
Highly recommended for readers of Classics that eternally resonate with our varying concept of humanness. Beckett's is certainly a bleak yet lucid vision of existence that questions incessantly though uselessly(?) This was one intellectually engaging and intense read!
馃摙 A health warning (to start off the review on a note that would have met Beckett's approval in its genetic negation of happiness):
Beckett's writing has a deliberate asphyxiating quality to it - you will feel the full meaning of breathlessness - that is triggered by the idea of an eternally cyclical (and by extension, endless) existence. It is not generated by repetition itself, but by the repetition of repetition - the plethoric reiteration of it, as it were, that will leave no doubt as to its inexorability.
Enough, it鈥檚 time it ended, in the shelter too.
[Pause.]
And yet I hesitate, I hesitate to . . . to end. Yes, there it is, it鈥檚 time it ended and yet I hesitate to鈥�
[he yawns]
鈥攖o end.
Beckett's theatre of the absurd is of singular value within High Modernism as we know it: its epiphanic qualities are keyed down to the point of dizzying annihilation, via the persistent theme of Waiting for something significant to happen that never does. Whether we identify Beckett's literature as positing itself within an emergent philosophy of nihilism (there is an abundant use of the word "zero") and existentialism, or choose to analyse his select words within the circumference of their creation, the one element of his writing that is indubitably palpable and ubiquitous is the exposition of meaningless as all-engulfing and traceable in every human phenomenon. In this we are reminded of Shakespearian futility:
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
- From Macbeth
Of course, the important difference here is that in Beckett the protagonists are caught in the between: that tension between life and death, the latter being out of reach, an event that cannot happen. Like with the vaguely platonic metaphor of "the impossible heap" (it does not exist, but is merely constituted of single grains, therefore an idea that is not materially conceivable), life can only be grasped in its collection of moments. Linearity and rationality are here under assault, though seemingly as a matter of course, beyond human control.
Moment upon moment, pattering down, like the millet grains of . . .
[he hesitates]
. . . that old Greek, and all life long you wait for that to mount up to a life.
A pervading sense of senseless emanates from every word and concept, and their tireless yet tiring repetition; from the at times illogical word structures and use of ellipsis to denote hesitance, an attempt to retrieve meaning, and the ultimate observed emptiness within and without; the all-encompassing greyness, stillness, and the bare minimalistic set up. But also, finally, the punctuated laughter itself, as a dialectic reference to the humour that lies within the pathetic (the element of 'low comedy', the ridiculous in human nature).
HAMM We鈥檙e not beginning to . . . to . . . mean something?
CLOV Mean something! You and I, mean something!
[Brief laugh.]
Ah that鈥檚 a good one!
Intimately connected with the void and voidness of existence is a lingering weariness that registers the impossibility of things. Stillness and motionlessness prevail, as does a sense of fatal aloneness, also developed through the exasperated co-dependency between protagonist Hamm and Clov.
One other aspect that makes Beckett's text magnetic is the extent to which it invites close reading and analysis. Elements of intertextuality, to Dante's Inferno especially, are implicit yet powerfully integrated within the logic of his text.
馃馃馃
Highly recommended for readers of Classics that eternally resonate with our varying concept of humanness. Beckett's is certainly a bleak yet lucid vision of existence that questions incessantly though uselessly(?) This was one intellectually engaging and intense read!
July 12, 2015
丿賳亘丕 賳賴 亘丕 丕賳賮噩丕乇蹖 賲賴蹖亘貙 亘賱讴賴 亘丕 賳丕賱賴 賵 賴賯 賴賯 诏乇蹖賴 亘賴 丌禺乇 禺賵丕賴丿 乇爻蹖丿
鬲蹖 丕爻 丕賱蹖賵鬲
丿爻鬲 丌禺乇( 丌禺乇 亘丕夭蹖 ) 賳賲丕蹖卮賳丕賲賴 丕蹖 丕爻鬲 讴賴 亘賴 卮丿鬲 丿乇 亘乇丕亘乇 賴乇 鬲毓亘蹖乇 賮賱爻賮蹖貙 鬲賲孬蹖賱蹖 賵 賳賲丕丿蹖賳 賲賯丕賵賲鬲 賲蹖 讴賳丿. 賲丕賳賳丿 丿蹖诏乇 丌孬丕乇 亘讴鬲貙 丿乇 丕蹖賳噩丕 賳蹖夭 賴乇诏夭 亘丕 鬲氐賵蹖乇 讴丕賲賱蹖 乇賵亘乇賵 賳賲蹖 卮賵蹖賲 賵 賲賵賯毓蹖鬲蹖 讴丕賲賱丕 诏爻蹖禺鬲賴 丿乇 賯丕賱亘 賳賲丕蹖卮 毓乇囟賴 賲蹖 卮賵丿. 丿爻鬲 丌禺乇 亘賴 噩丕蹖 亘蹖丕賳 賮賯丿丕賳 賲毓賳丕貙 亘賴 賳卮丕賳 丿丕丿賳 亘氐乇蹖 丕蹖賳 賮賯丿丕賳 乇賵蹖 丌賵乇丿賴 丕爻鬲
賳賲丕蹖卮 亘丕 賵丕乇丿 卮丿賳 讴賱丕賵 亘賴 氐丨賳賴貙 讴賳丕夭 夭丿賳 倬乇丿賴 丿賵 倬賳噩乇賴貙 賳诏丕賴 賴丕蹖 丿夭丿讴蹖 亘賴 亘蹖乇賵賳 賵 爻倬爻 亘乇丿丕卮鬲賳 賲賱丨賮賴 賴丕 丌睾丕夭 賲蹖 卮賵丿. 賴蹖賵 讴賳乇 丿乇 亘丕亘 趩賳蹖賳 卮乇賵毓蹖 賲蹖 诏賵蹖丿: 丕蹖賳 丨乇讴鬲 趩賳丕賳 丌卮讴丕乇丕 丕爻鬲毓丕乇賴 丕蹖 亘乇丕蹖 亘蹖丿丕乇 卮丿賳 丕爻鬲 讴賴 賲蹖 鬲賵丕賳 鬲氐賵乇 賳賲賵丿 讴賱 氐丨賳賴 賵 賲鬲毓賱賯丕鬲卮 賲毓乇賮 賮囟丕蹖 丿乇賵賳蹖 讴丕爻賴 爻乇 蹖讴 丕賳爻丕賳 丕爻鬲. 丕诏乇 丕蹖賳 亘乇丿丕卮鬲 丿乇爻鬲 亘丕卮丿貙 賲蹖 鬲賵丕賳 讴賱 賳賲丕蹖卮 乇丕 賲毓乇賮 丿賯丕蹖賯蹖 丿乇 噩賴丕賳 丿乇賵賳蹖 丕賳爻丕賳蹖 丕賮爻乇丿賴 賵 亘賴 丕爻鬲蹖氐丕賱 乇爻蹖丿賴 丿丕賳爻鬲. 亘賴 賴賲蹖賳 毓賱鬲 丕爻鬲 讴賴 丕蹖賳 丕孬乇 亘讴鬲 賳爻亘鬲 亘賴 丌孬丕乇 丿蹖诏乇卮 胤乇丨 丿丕爻鬲丕賳蹖 讴賲鬲乇蹖 丿丕乇丿. 丕賳爻丕賳蹖 讴賴 趩卮賲 亘賴 乇丕賴 趩蹖夭蹖 賳蹖爻鬲貙 賲诏乇 賯乇氐 賴丕蹖 賲爻讴賳卮. 爻禺賳丕賳 丌睾丕夭蹖賳 讴賱丕賵 丕卮丕乇賴 亘賴 賴賲蹖賳 賲賵囟賵毓 丿丕乇丿 : 鬲賲丕賲 卮丿. 鬲賯乇蹖亘丕 鬲賲丕賲 卮丿賴貙 亘丕蹖丿 讴賴 鬲賯乇蹖亘丕 鬲賲丕賲 卮丿賴 亘丕卮丿. 匕乇賴 亘賴 匕乇賴貙 蹖讴 亘賴 蹖讴 賵 賳丕诏賴丕賳 乇賵夭蹖 讴倬賴 丕蹖 丕夭 丌賳 賴丕貙 讴倬賴 丕蹖 讴賵趩讴貙 讴倬賴 丕蹖 鬲丨賲賱 賳丕倬匕蹖乇. 倬爻 丿爻鬲 丌禺乇 乇賵夭蹖 賲毓賲賵賱蹖 爻鬲貙 趩賵賳 亘丕賯蹖 乇賵夭賴丕. 亘丕 丕蹖賳 鬲賮丕賵鬲 讴賴 爻乇丕賳噩丕賲 鬲乇丕讴賲 乇賵夭賴丕 亘賴 讴賱蹖鬲蹖 亘賴 賳丕賲 夭賳丿诏蹖 亘丿賱 诏卮鬲賴 丕爻鬲. 丿乇 倬丕蹖丕賳 賳蹖夭 丿蹖丕賱賵诏蹖 亘賴 賴賲蹖賳 賲囟賲賵賳 乇丕 "賴賲" 鬲讴乇丕乇 賲蹖 讴賳丿 : 賱丨馗賴 亘賴 賱丨馗賴貙 卮乇卮乇 賮乇賵 賲蹖 乇蹖夭丿貙 賴賲趩賵賳 丿丕賳賴 賴丕蹖 丕乇夭賳 賽 (鬲乇丿蹖丿 賲蹖 讴賳丿)... 丌賳 蹖賵賳丕賳蹖 倬蹖乇 賵 鬲賲丕賲 毓賲乇 賲賳鬲馗乇 賲蹖 賲丕賳蹖 鬲丕 卮丕蹖丿 丕蹖賳 讴倬賴 賵丕賳诏賴蹖 丿乇蹖丕 卮賵丿
毓亘丕乇鬲 鬲賲丕賲 卮丿 丌睾丕夭蹖賳 賳賲丕蹖卮 乇丕 賲蹖 鬲賵丕賳 鬲賱賲蹖丨蹖 亘賴 丌禺乇蹖賳 爻禺賳丕賳 賲爻蹖丨 亘乇 氐賱蹖亘 丿丕賳爻鬲貙 丌賳噩丕 讴賴 賲爻蹖丨 賲氐賱賵亘 賮乇蹖丕丿 夭丿 "鬲賲丕賲 卮丿" 賵 爻倬爻 噩丕賳 爻倬乇丿. 賴賲蹖賳 讴賱賲丕鬲 丿乇賵賳 賲丕蹖賴 讴賱蹖 賳賲丕蹖卮 乇丕 賲卮禺氐 賲蹖 讴賳丿.
丿乇 亘禺卮 賴丕蹖 賲禺鬲賱賮 賳賲丕蹖卮貙 賲毓賳丕 亘賴 胤賵乇 賵丕囟丨 亘賴 爻禺乇賴 诏乇賮鬲賴 賲蹖 卮賵丿 :
賴賲: 賳讴賳賴 蹖讴 賵賯鬲 丨乇賮 賴丕蹖 賲丕 賲毓賳蹖 倬蹖丿丕 讴賳丿責
讴賱丕賵: 賲毓賳丕 倬蹖丿丕 讴賳丿責 丨乇賮 賴丕蹖 賲賳 賵 鬲賵 賲毓賳丕 倬蹖丿丕 讴賳丿責(禺賳丿賴 讴賵鬲丕賴) 丕蹖賳 賴賲 丕夭 丌賳 丨乇賮 賴丕蹖 禺賵卮賲夭賴 亘賵丿
丿乇 丿爻鬲賵乇賴丕蹖 丕噩乇丕蹖 氐丨賳賴 賳蹖夭 丕賲丿賴 讴賴 亘丕蹖丿 丿乇賵賳 丕鬲丕賯貙 鬲氐賵蹖乇蹖 乇賵 亘乇 丿蹖賵丕乇 丌賵蹖禺鬲賴 卮賵丿 賵 倬卮鬲 丌賳 亘賴 鬲賲丕卮丕趩蹖丕賳 亘丕卮丿 讴賴 丕爻鬲毓丕乇賴 丕蹖 丕夭 睾蹖丕亘 賲毓賳丕 丿乇 賳賲丕蹖卮 丕爻鬲
賳诏 賵 賳賱貙 丿賵 讴丕乇丕讴鬲乇 丿乇賵賳 爻胤賱 賴丕蹖 夭亘丕賱賴貙 倬丿乇 賵 賲丕丿乇 "賴賲" 賴爻鬲賳丿. 賴賲 丿乇丿蹖 賲蹖丕賳 丕蹖賳 丿賵 乇丕 賲蹖 鬲賵丕賳 亘乇噩爻鬲賴 鬲乇蹖賳 丕乇鬲亘丕胤 丕丨爻丕爻蹖 丿乇賵賳 丿丕爻鬲丕賳 丿乇 賳馗乇 诏乇賮鬲. 賳诏 賲蹖 鬲賵丕賳丿 爻丕賱禺賵乇丿诏蹖 丕爻鬲乇丕诏賵賳 亘丕卮丿 賵 賳賱 爻丕賱禺賵乇丿诏蹖 賵賱丕丿蹖賲蹖乇. 乇丕亘胤賴 蹖 賲丕亘蹖賳 讴賱丕賵 賵 賴賲 賳蹖夭 蹖丕丿丌賵乇丿 乇丕亘胤賴 賱丕讴蹖 賵 倬賵鬲夭賵 丕爻鬲. 賲蹖丕賳 賴賲 賵 讴賱丕賵 乇丕亘胤賴 禺丿丕 賵 亘賳丿诏蹖 賵噩賵丿 丿丕乇丿. 亘賴 賳馗乇 賲蹖 乇爻丿 亘蹖賳 賳丕賲 丕蹖賳 丿賵 賵 賳賯卮 卮丕賳 丕乇鬲亘丕胤蹖 亘丕卮丿. 讴賱丕賵 丿乇 賮乇丕賳爻賴 亘賴 賵丕跇賴 賲蹖禺 賵 賴賲 丿乇 丕賳诏賱蹖爻蹖 亘賴 賵丕跇賴 趩讴卮 卮亘蹖賴 丕爻鬲
亘乇 禺賱丕賮 賳賲丕蹖卮 賴丕蹖 爻賳鬲蹖 禺丕賳賵丕丿诏蹖 讴賴 丿乇 丌賳 賴丕 丕乇夭卮 賴丕蹖 禺丕賳賵丕丿诏蹖 倬丕爻 丿丕卮鬲賴 賲蹖 卮賵丿貙 丿乇 "丿爻鬲 丌禺乇" 丕氐丕賱鬲 丕蹖賳 丕乇夭卮 賴丕 丿乇 讴賳丕乇 亘丕賯蹖 趩蹖夭賴丕 丕夭 亘蹖賳 賲蹖 乇賵丿 賵 賳賲丕蹖卮 亘賴 賵乇丕蹖 鬲乇丕跇丿蹖 賲賳鬲賯賱 賲蹖 卮賵丿. 丌诏丕賴蹖 卮禺氐蹖鬲 賴丕 丕夭 倬賵趩蹖 賵 丌賳趩賴 丕夭 丿爻鬲 乇賮鬲賴 丕爻鬲 亘蹖卮鬲乇 丕夭 卮禺氐蹖鬲 賴丕蹖 賲賵丕夭蹖 丿乇 丕賳鬲馗丕乇 诏賵丿賵 爻鬲 賵 丕夭 賴賲蹖賳 噩賴鬲 丕蹖賳丕賳 賲鬲丨賲賱 丿乇丿 賵 毓匕丕亘 亘蹖卮鬲乇蹖 賲蹖 卮賵賳丿
丕鬲賮丕賯丕鬲 賳賲丕蹖卮 丿乇 噩賴丕賳蹖 賲蹖 诏匕乇丿 亘爻蹖丕乇 賳丕丌卮賳丕 賵 睾乇蹖亘. 亘蹖乇賵賳貙 鬲賲丕賲丕 禺丕讴爻鬲乇蹖 賵 賲鬲乇賵讴 賵 賲乇丿賴 丕爻鬲. 禺丕胤乇丕鬲 卮禺氐蹖鬲 賴丕 賲鬲毓賱賯 亘賴 噩賴丕賳 賲丕爻鬲貙 丕賲丕 噩賴丕賳 賮毓賱蹖 丌賳 賴丕 禺丕賱蹖 賵 賲賲賱賵 丕夭 乇賵丨 賲乇诏 丕爻鬲. 讴丕乇丕讴鬲乇 賴丕蹖 "丿爻鬲 丌禺乇" 亘丕乇賴丕 亘賴 禺丕胤乇丕鬲 禺賵卮 诏匕卮鬲賴 倬賳丕賴 賲蹖 亘乇賳丿貙亘丕 丕蹖賳 丨丕賱 丕蹖賳 禺丕胤乇丕鬲 爻乇丕亘蹖 亘蹖卮 賳蹖爻鬲賳丿. 亘讴鬲 亘乇 丕蹖賳 亘丕賵乇 丕爻鬲 讴賴 蹖丕丿丌賵乇蹖 禺丕胤乇丕鬲 匕丕鬲丕 賲禺丿賵卮 賵 賳丕賲毓鬲亘乇 丕爻鬲 賵 亘蹖卮鬲乇 丕夭 賳蹖丕夭賴丕蹖 丿乇賵賳蹖 賳丕卮蹖 賲蹖 卮賵丿 鬲丕 丕夭 鬲噩乇亘賴 丕蹖 賵丕賯毓蹖.
丿丕爻鬲丕賳 賳賲丕蹖卮 丿乇 毓蹖賳 丨丕賱 讴賴 乇賵 亘賴 爻賵蹖 倬丕蹖丕賳蹖 丌禺乇 丕賱夭賲丕賳蹖 丿丕乇丿貙 賴賲夭賲丕賳 賲亘鬲賳蹖 亘乇 賵賯丕蹖毓 丿賱诏蹖乇 夭賳丿诏蹖 乇賵夭賲乇賴 丕爻鬲. 毓賳氐乇 丕賳鬲馗丕乇 亘乇 禺賱丕賮 丿乇 丕賳鬲馗丕乇 诏賵丿賵 賲鬲賵噩賴 賳噩丕鬲 賵 丕賲蹖丿 亘賴 鬲毓賵蹖賯 丕賮鬲丕丿賴 賳蹖爻鬲貙 亘賱讴賴 鬲爻賱蹖 倬丕蹖丕賳 賵 賮乇噩丕賲 丕爻鬲: 讴賱丕賵 亘丕 賲丕鬲賲 賲蹖 诏賵蹖丿 讴賴 趩蹖夭賴丕蹖 賴賵賱賳丕讴 夭蹖丕丿蹖 賵噩賵丿 丿丕乇丿 賵 賴賲 倬丕爻禺 賲蹖 丿賴丿 賳賴! 丨丕賱丕 丿蹖诏賴 禺蹖賱蹖 夭蹖丕丿 賳蹖爻鬲賳丿
亘乇丕蹖 賴賲 賵 讴賱丕賵 讴賴 丿乇 丕賳鬲馗丕乇 倬丕蹖丕賳 丕賳丿貙 趩卮賲 丕賳丿丕夭 卮乇賵毓 鬲讴丕賲賱蹖 丿蹖诏乇 亘爻蹖丕乇 丌夭丕乇丿賴賳丿賴 丕爻鬲. 丿賱蹖賱 亘賴 賵丨卮鬲 丕賮鬲丕丿賳 "賴賲" 亘丕 丿蹖丿賳 讴讴 丿乇 卮賱賵丕乇 讴賱丕賵 賵 賲賵卮 丿乇 丌卮倬夭禺丕賳賴 賳蹖夭 賴賲蹖賳 賲賵囟賵毓 丕爻鬲: 賴賲: 賳跇丕丿 亘卮乇 賲賲讴賳 丕爻鬲 丿賵亘丕乇賴 丕夭 賴賲蹖賳噩丕 丌睾丕夭 亘卮賴! 賲丨囟 乇囟丕蹖 禺丿丕 亘诏蹖乇鬲卮! 賵 亘毓丿 賳賵亘鬲 倬蹖丿丕 卮丿賳 蹖讴 賲賵卮 丕爻鬲. 丿乇 倬丕蹖丕賳 賳賲丕蹖卮貙 蹖讴 倬爻乇亘趩賴貙 毓丕賲賱 亘丕賱賯賵賴 鬲賵賱蹖丿 賲孬賱 丿蹖丿賴 賲蹖 卮賵丿. 丌蹖丕 丕蹖賳 乇賵賳丿 鬲讴丕賲賱蹖 讴讴 亘賴 賲賵卮 賵 賲賵卮 亘賴 倬爻乇亘趩賴 丿乇 丿爻鬲 丌禺乇貙 乇賵夭賳賴 丕蹖 丕夭 丕賲蹖丿 丕爻鬲責
丿乇 丿丕爻鬲丕賳 "賴賲" 賳蹖夭 亘丕 蹖讴 倬爻乇亘趩賴 乇賵亘乇賵 賴爻鬲蹖賲.丕蹖賳 倬爻乇 讴蹖爻鬲責 丌蹖丕 丕乇鬲亘丕胤蹖 亘丕 倬爻乇讴 亘蹖乇賵賳 倬賳噩乇賴 丿丕乇丿責 賵 蹖丕 亘丕 讴賵丿讴蹖 讴賱丕賵責 亘讴鬲 丿乇 倬丕爻禺 丕蹖賳 倬乇爻卮 賲胤丕亘賯 丕賳鬲馗丕乇 趩賳蹖賳 诏賮鬲賴 丕爻鬲 : 賳賲蹖 丿丕賳賲 丕蹖賳 丿丕爻鬲丕賳 讴賵丿讴蹖 讴賱丕賵 丕爻鬲 蹖丕 賳賴貙 賳賲蹖 丿丕賳賲貙 賴賲蹖賳.
賲丕賳賳丿 丿乇 丕賳鬲馗丕乇 诏賵丿賵貙丿乇 丿爻鬲 丌禺乇 賳蹖夭 亘丕 丿賵诏丕賳诏蹖 夭賲丕賳 乇賵亘乇賵 賴爻鬲蹖賲.丕夭 蹖讴 爻賵 夭賲丕賳 亘賴 賲孬丕亘賴 毓丕賲賱 鬲讴乇丕乇 賵 丕爻丕乇鬲 賵 鬲爻賱爻賱 (賳賲丕蹖卮 賴賲丕賳 诏賵賳賴 讴賴 卮乇賵毓 賲蹖 卮賵丿貙 倬丕蹖丕賳 賲蹖 蹖丕亘丿) 賵 丕夭 爻賵蹖蹖 丿蹖诏乇 亘賴 賲孬丕亘賴 毓丕賲賱 賮爻丕丿 賵 賳丕亘賵丿 (賵丕賯毓蹖丕鬲 丕夭 丿爻鬲 乇賮鬲賴貙 賯乇氐 賴丕 賵 禺丕讴 丕乇賴 鬲賲丕賲 卮丿賴 賵 ...). 亘賳丕亘乇丕蹖賳 卮禺氐蹖鬲 賴丕蹖 丕蹖賳 賳賲丕蹖卮 毓賱丕賵賴 亘乇 賲讴丕賳貙丕夭 丨蹖孬 夭賲丕賳 賳蹖夭 丿乇 亘賳丿 賴爻鬲賳丿.
讴丕乇亘乇丿 毓賳丕氐乇 賮乇丕賳賲丕蹖卮蹖 賳蹖夭 丿乇 丿爻鬲 丌禺乇 亘乇噩爻鬲賴 丕爻鬲.丕蹖賳 毓賳丕氐乇 鬲賳賴丕 噩賳亘賴 賳賲丕蹖卮蹖 賳丿丕乇丿賳丿貙 亘賱讴賴 丿乇 毓蹖賳 丨丕賱 賵噩賴 丕噩乇丕蹖蹖貙 鬲讴乇丕乇蹖 賵 賳賲丕蹖卮蹖 夭賳丿诏蹖 乇丕 賳蹖夭 賲卮禺氐 賲蹖 讴賳賳丿. 亘賴 毓賳賵丕賳 賲孬丕賱 毓亘丕乇鬲 "鬲賲丕賲 卮丿賳" 賵 "趩蹖夭蹖 丿丕乇丿 賲蹖 诏匕乇丿" 丕卮丕乇賴 蹖 丌诏丕賴丕賳賴 亘賴 诏匕卮鬲賳 賵 倬丕蹖丕賳 蹖丕賮鬲賳 賳賲丕蹖卮 丿丕乇丿貙 夭賲丕賳蹖 讴賴 讴賱丕賵 丿賵乇亘蹖賳卮 乇丕 亘賴 爻賵蹖 賳賲丕卮丕诏乇丕賳 賲蹖 诏蹖乇丿 賵 蹖丕 賴賳诏丕賲蹖 讴賴 讴賱丕賵 鬲賴丿蹖丿 亘賴 乇賮鬲賳 賲蹖 讴賳丿 賵 賴賲 賲蹖 诏賵蹖丿 丕賵 賳賲蹖 鬲賵丕賳丿 氐丨賳賴 乇丕 鬲乇讴 讴賳丿貙 亘賴 禺丕胤乇 丿蹖丕賱賵诏! 賳賲賵賳賴 蹖 亘乇噩爻鬲賴 蹖 丿蹖诏乇貙 丕丿睾丕賲 丿賱賴乇賴 賵噩賵丿蹖 讴賱丕賵 丿乇 賳賯卮 賵 鬲讴乇丕乇 賳賯卮 亘賴 毓賳賵丕賳 噩夭 賱丕蹖賳賮讴 亘丕夭蹖爻鬲. 趩賳丕賳讴賴 讴賱丕賵 賵 賴賲 賲蹖 诏賵蹖賳丿 " 丕蹖賳 賲爻禺乇賴 亘丕夭蹖 賴乇 乇賵夭 禺丿丕 趩賴 賮丕蹖丿賴 丕蹖 丿丕乇丿責"
禺賵丕賳丿賳 丌孬丕乇 亘讴鬲 亘乇丕蹖 丌賳 丿爻鬲賴 丕夭 賲禺丕胤亘蹖賳蹖 讴賴 丿乇 丕賳鬲馗丕乇 乇賵亘乇賵 卮丿賳 亘丕 丕鬲賮丕賯丕鬲 鬲乇丕跇蹖讴 賵 賴蹖噩丕賳 丕賳诏蹖夭 丿乇 賳賲丕蹖卮 乇丕 賴爻鬲賳丿 丕卮鬲亘丕賴蹖 亘夭乇诏 丕爻鬲. 亘丕 丕蹖賳 丨丕賱 亘乇丕蹖 毓丿賴 丕蹖 丿蹖诏乇貙丕蹖賳 丌孬丕乇 丌蹖賳賴 蹖 鬲賲丕賲 賳賲丕蹖 夭賳丿诏蹖 丌賳 賴丕爻鬲貙乇賵亘乇賵 卮丿賳 亘丕 丨賯蹖賯鬲蹖 鬲賱禺.夭賳丿诏蹖 丕蹖 禺丕賱蹖 丕夭 賲毓賳丕 賵 丕乇夭卮貙睾乇賯 丿乇 乇賵夭賲乇诏蹖
亘賴 丕蹖賳 丕孬乇 亘讴鬲 5 爻鬲丕乇賴 丕賲鬲蹖丕夭 賲蹖 丿賲 賵 亘賴 丕蹖賳 賳爻禺賴 鬲乇噩賲賴 卮丿賴 讴賲鬲乇 丕夭 1!
April 5, 2017
-Nature has forgotten us.
-There's no more nature.
-No more nature! You exaggerate.
-In the vicinity.
-But we breathe, we change! We lose our hair, our teeth! Our bloom! Our ideals!
A play that reads like a poem written in a twisted dream. No words. Only silence is suitable after this one.
April 5, 2015
Celebrity Death Match Special: Endgame versus Secrets of Pawnless Endings
[An almost bare stage containing only an armchair, a table and two garbage cans. The armchair is covered in a heavy drape. CLOV enters right, carrying a bag, and limps slowly towards the table. When he reaches it, he pulls out a chessboard and set. He places the board on the table and painstakingly arranges a few pieces on it, examining the position from different angles and adjusting the pieces accordingly. Finally, he moves to the armchair and removes the drape, revealing HAMM, an elderly man wearing dark glasses.]
HAMM: Well?
CLOV: I've set them up. We can continue. Rook and bishop against rook.
HAMM: What do you mean?
CLOV: It's an endgame, right?
HAMM: You idiot! You don't understand anything, do you?
CLOV: [Defensively] I understand as much as you do. Samuel Beckett was a keen chessplayer. I can well believe he had this one in mind.
HAMM: Moron! This is a universal metaphor for the human condition, not some piece of games trivia!
CLOV: Look. The position is theoretically drawn in almost all practical cases, but White can torture Black for 50 moves...
NAGG: [Poking head out of garbage can] 75 moves!
NELL: [Muffled voice from other garbage can] No, FIDE changed it back to 50 moves in 1992!
CLOV: [Ignoring them] ... though as long as Black knows one of the standard defensive setups, he has nothing to fear. Personally, I favor Cochrane's method. Though the second rank defense also has many supporters.
NAGG: If Black dies before reaching the fiftieth move, he forfeits.
NELL: Yes, death ends the game. It's important in correspondence matches.
HAMM: But what has this got to do with Beckett?
CLOV: [Shrugging his shoulders] I admit it: nothing.
NAGG: Nothing!
NELL: [With a hysterical little laugh] Nothing! Nothing!!
CLOV: So shall we play? It'll pass the time.
HAMM: Why not?
[Curtain]
No winner announced due to absurdity of existence
May 3, 2019
賰賱 丨賷丕鬲賳丕 丕賱兀爻卅賱丞 廿賷丕賴丕貙 丕賱兀噩賵亘丞 廿賷丕賴丕
!!!
賳賴丕賷丞 丕賱賱毓亘丞 ... 丕賵 丕爻鬲賰賲丕賱 亘賱丕 賳賴丕賷丞 賱賱毓亘丞 丕賱丨賷丕丞
廿匕丕 賰賳鬲 賯丿 賯乇兀鬲 賱氐賲賵賷賱 亘賷賰鬲 賲賳 賯亘賱貙 賮賱賳 鬲卮毓乇 亘丕禺鬲賱丕賮 賰亘賷乇 賳賮爻賷貙 兀賵 賮賱爻賮賷貙 毓賳 爻丕卅乇 兀毓賲丕賱 亘賷賰鬲
賵禺丕氐丞 賱賵 賰賳鬲 賯丿 賯乇兀鬲 賱賴 乇賵丕賷鬲賴 丕賱兀卮賴乇 賮賷 丕賳鬲馗丕乇 噩賵丿賵 .. 孬賲 鬲賯乇兀 賴匕賴 丕賱賲爻乇丨賷丞 .. 賵鬲鬲亘毓賴賲丕 亘賭 卮乇賷胤 賰乇丕亘 丕賱兀禺賷乇
賵鬲賰賵賳 亘賴匕賴 丕賱孬賱丕孬賷丞 賯丿 丕丨賰賲鬲 賯亘囟鬲賰 毓賱賷 亘賷賰鬲 亘氐賵乇丞 賲賲鬲毓丞 .. 賲兀爻丕賵賷丞 賳毓賲貙 賱賰賳賴丕 賲賲鬲毓丞
賰賱賵賮: 賱賲丕匕丕 鬲亘賯賷 賲毓賷責
賴丕賲: 賱賲丕匕丕 鬲亘賯賷 毓賱賷責-
賰賱賵賮: 賱賷爻 賴賳丕賰 卮禺氐 丌禺乇-
賴丕賲 : 賱賷爻 賴賳丕賰 賲賰丕賳 丌禺乇 -
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丨爻賳丕 .. 賱賯丿 賯丿賲鬲 賲賳 賯亘賱 賲乇丕噩毓丞 毓賳 丕賳鬲馗丕乇 噩賵丿賵
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賵卮乇賷胤 賰乇丕亘 丕賱兀禺賷乇
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鬲鬲亘賯賷 賴匕賴 丕賱賲爻乇丨賷丞 .. 賵賱賰賳 賴賱 丨賯丕 丕丨鬲丕噩 賱賲乇丕噩毓丞 噩丿賷丿丞 .. 兀賵 賲禺鬲賱賮丞 毓賲丕 賰鬲亘鬲賴 賲賳 賯亘賱 責
賱丕 丕毓鬲賯丿
賮賱賵 兀禺匕鬲 賲丕 賰鬲亘鬲賴 賲賳 賯亘賱 賵賰鬲亘鬲賴 賴賳丕貙 賱賰丕賳鬲 丕賱賲乇丕噩毓丞 爻賱賷賲丞 賲丕卅丞 亘丕賱賲丕卅丞
賮亘賷賰鬲 賴賵 亘賷賰賷鬲 .. 丕賱毓亘孬賷丞 賳賮爻賴丕 .. 丕賱賵丨丿丞貙 丕賱賮乇丕睾 .. 丕賱兀賱賲 丕賱匕賷 賱丕 賷鬲賵賯賮貙 賵賱賳 賷鬲賵賯賮
賮丕賱兀賲乇 賱丕 毓賱丕賯丞 賱賴 亘丕賱夭賲賳 廿胤賱丕賯丕
賮兀賳鬲 賮賷 賲爻乇丨賷丞 丕賱夭賲賳 丕賱賵丕丨丿 .. 賵丕賱賲卮賴丿 丕賱賵丕丨丿 .. 賵丕賱丿賷賰賵乇 丕賱賵丕丨丿
賮丕賱夭賲賳 氐賮乇 賮賷 爻丕毓丞 賱丕 鬲毓賲賱貙 賵丕賱賱丨馗丕鬲 鬲鬲爻丕賯胤 賰丨亘丕鬲 丕賱賯賲丨貙 賵兀賳鬲 鬲兀賲賱 胤賵丕賱 丨賷丕鬲賰 兀賳 鬲爻鬲丨賷賱 賴匕賴 丕賱賱丨馗丕鬲 廿賱賷 丨賷丕丞 賰丕賲賱丞 賮賷 丕賱賳赖丕賷丞貙 廿賱丕 兀賳 匕賱賰 賱丕 賷丨丿孬 兀亘丿丕貙 賮丕賱賳赖丕賷丞 賱丕 鬲禺鬲賱賮 賰孬賷乇丕 毓賳 丕賱亘丿丕賷丞貙 賵禺丕乇噩 丕賱賳丕賮匕丞 賱丕 賷賵噩丿 卮卅貙 賵賱賳 賷賵噩丿 卮卅貙 爻賵賷 鬲賰乇丕乇 丕賱賲兀爻丕丞貙 賵鬲賰乇丕乇 丕賱鬲爻丕丐賱丕鬲貙 賵丕賱廿噩丕亘丕鬲
賮兀賳鬲 毓賱賷 丕賱兀乇囟貙 賵賱丕 丨賱 賱匕賱賰
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卮丕賴丿 賴匕丕 丕賱賲賯胤毓 賲賳 丕賱賲爻乇丨賷丞
孬賲 丕賯乇兀 賲乇丕噩毓丕鬲 丕賱兀氐丿賯丕亍貙 賮賯丿 兀賵賮鬲 丨賯丕 賰賱 賲丕 賷賲賰賳賳賷 賯賵賱賴
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May 15, 2022
賲爻乇丨賷丞 賲賳 賮氐賱 賵丕丨丿 賮賯胤 賷鬲賯賳賴丕 亘賷賰賷鬲 亘賲賴丕乇丞 毓丕賱賷丞.
丕賱賲賰丕賳: 賲爻乇丨 毓丕乇賺 賵丕賱囟賵亍 乇賲丕丿賷. 賱丕 賷丨鬲賵賷 廿賱丕 毓賱賶 賰乇爻賷貙 氐賳丿賵賯賷賻 賯賲丕賲丞貙 賳丕賮匕鬲丕賳 賲乇鬲賮毓鬲丕賳 賵賱賵丨丞 賵噩賴賴丕 賱賱丨丕卅胤. 賵賰賱 卮賷 禺丕乇噩 賴匕賴 丕賱睾乇賮丞 賷賲賱丐賴 丕賱賲賵鬲 賵丕賱毓丿賲. 賰兀賳賴 賷乇賲賷 丕賱賶 丕賳 丕賱丨賷丕丞 賮丕乇睾丞 兀卮亘賴 亘爻噩賳 賳鬲賳.
丕賱卮禺氐賷丕鬲: 賴丕賲貙 賲購賯毓賻丿 賵囟乇賷乇.
賰賱賵賮貙 禺丕丿賲貙 丕亘賳 (賱賲 賷丨丿丿 亘丕賱囟亘胤 賲賳 卮禺氐賷鬲賴) 丕賱卮禺氐 丕賱賵丨賷丿 丕賱賯丕丿乇 毓賱賶 丕賱丨乇賰丞 亘丕賱賲爻乇丨賷丞貙 賵睾賷乇 賯丕丿乇 毓賱賶 丕賱噩賱賵爻.
賳丕噩 賵賳賷賱: 賵丕賱丿丕 賴丕賲貙 賷毓賷卮丕賳 賮賷 氐賳丿賵賯賷 賯賲丕賲丞 賵賲賯胤賵毓賷 丕賱兀乇噩賱.
丕賱夭賲丕賳: 夭賲丕賳 賱丕 賷鬲丨乇賰貙 孬丕亘鬲 賮賷 賳賯胤丞 丕賱氐賮乇.
賴丕賲: 賰賲 丕賱爻丕毓丞責
賰賱賵賮: 廿賷丕賴丕 賰丕賱毓丕丿丞.
賴丕賲: 賴賱 賳馗乇鬲責
賰賱賵賮: 賳毓賲.
賴丕賲: 賵賲丕匕丕 賵噩丿鬲責
賰賱賵賮: 氐賮乇賸丕.
丕賱亘賳丕亍 丕賱丿乇丕賲賷 丕賵 丕賱兀丨丿丕孬 鬲兀禺匕 卮賰賱賸丕 禺胤賷賸丕貙 睾賷乇 賲鬲賳丕賲賷丞 鬲乇賲夭 賱賱乇鬲丕亘丞 賵丕賱賲賱賱 賵毓丿賲 賵噩賵丿 賴丿賮 賲賳 丕賱丨賷丕丞.
賯賻丿賻賾賲 丕賱丨賵丕乇丕鬲 亘胤乇賷賯丞 賲亘鬲賵乇丞 賵鬲賲賱丐賴丕 丕賱爻禺乇賷丞 賵丕賱鬲賴賰賲貙 丕匕丕 兀賳賴丕 乇丿丞 丕賱賮毓賱 丕賱賲賳丕爻亘丞 鬲噩丕賴 丕賱賲毓丕賳丕丞 賵毓丿賲 丕賱噩丿賵賶 賵丕賱乇鬲丕亘丞 丕賱鬲賷 賷毓賷卮賵賳 賮賷賴丕貙 丕匕丕 賱丕 卮賷 賷丿毓賵 賱賱囟丨賰 兀賰孬乇 賲賳 丕賱鬲毓丕爻丞.
賵兀賷囟丕 爻禺乇 賲賳 丕賱丿賷賳 賵丕賱廿賱賴 兀賷賳賲丕 匕購賰賽乇賵丕貙 賲賳 禺賱丕賱 毓乇囟賴 賱賳賰鬲丞 毓賱賶 賱爻丕賳 賳丕噩 毓賳 卮禺氐 丕丨鬲丕噩 賱亘賳胤賱賵賳 賲購賯賻賱賻賾賲 賱廿丨鬲賮丕賱丕鬲 乇兀爻 丕賱爻賳丞. 賮賯氐丿 丕賱禺賷丕胤 賱禺賷丕胤鬲賴貙 賱賰賳 丕賱禺賷丕胤 賷鬲兀禺乇 賱孬賱丕孬丞 兀卮賴乇 賱氐賳毓 丕賱亘賳胤賱賵賳貙 賮賷兀鬲賷賴 丕賱夭亘賵賳 睾丕囟亘賸丕: 賱毓賳丞 丕賱賱賴 毓賱賷賰. 賴匕賴 賯賱賾丞 兀丿亘. 賮賷 爻鬲丞 兀賷丕賲貙 賴賱 鬲爻賲毓賳賷貙 賮賷 爻鬲丞 兀賷丕賲 氐賳毓 丕賱賱賴 丕賱毓丕賱賲. 賳毓賲 賷丕 爻賷丿賷. 賵兀賳鬲 賱賲 鬲賯丿乇 毓賱賶 兀賳 鬲氐賳毓 賱賷 亘賳胤賱賵賳賸丕 賮賷 孬賱丕孬丞 兀卮賴乇...
賮賷噩賷亘賴 丕賱禺賷丕胤: 賱賰賳 賷丕 爻賷丿賷 丕賱毓夭賷夭貙 丕賳馗乇貙 丕賳馗乇 (賷卮賷乇 亘丕丨鬲賯丕乇 賵丕卮賲卅夭丕夭) 丕賳馗乇 廿賱賶 丕賱毓丕賱賲 (氐賲鬲) 賵丕賳馗乇 (賷卮賷乇 亘丕毓鬲夭丕夭 賵丨亘) 丕賱賶 丕賱亘賳胤賱賵賳 丕賱匕賷 氐賳毓鬲賴.
賱賲 賷丨丿丿 亘賷賰賷鬲 夭賲丕賳 賵賲賰丕賳 丕賱賲爻乇丨賷丞貙 丕匕丕 賱賳 賷賰賵賳 賴賳丕賰 賮乇賯貙 賮賲鬲賶 賵購噩丿鬲 賵丕賷賳賲丕 賰賳鬲貙 賱賳 鬲賳噩賵 賲賳 丕賱賲毓丕賳丕丞貙 賮賰兀賳賴丕 賲爻乇丨賷丞 毓賳 賰賱 夭賲丕賳 賵賲賰丕賳. 賵亘丨丕賱丞 賴丕賲 賵賲毓丕賳丕鬲賴 賲賳 丕賳鬲賴丕亍 丕賱丨亘賵亘 丕賱賲爻賰賳丞 賮賱賲 賷毓丿 賷噩丿 賲丕 賷禺賮賮 賲賳 兀賱賲賴 賵卮毓賵乇賴 亘丕賱賮乇丕睾 賵毓丿賲 丕賱乇囟丕 毓賳 丕賱賵丕賯毓貨 賴賵 亘爻亘亘 兀賳賴 賱賲 賷購毓胤賷 兀賵 賷氐賳毓 賲毓賳賶 賱丨賷丕鬲賴貙 丕匕 賱賲 賷賰賳 賱丿賷賴 廿賷賲丕賳 亘廿賱賴 賵賱賲 賷丨馗賻 亘丕賱丨亘 丕賱匕賷 馗賱 賷鬲禺賷賱賴貙 賵馗賱 賳丕賯賲賸丕 毓賱賶 賵丕賱丿賴 賱兀賳賴 兀賳噩亘賴.
亘乇兀賷賷 兀賳賴 賱丕 賷賲賰賳 賱賲乇丕噩毓丞 賵丕丨丿丞 兀賳 鬲賳丕賯卮 噩賲賷毓 丕賱兀賮賰丕乇 丕賱鬲賷 賵乇丿鬲 亘丕賱賲爻乇丨賷丞貙 丕匕丕 丕賳 賰賱 噩賲賱丞 鬲丨鬲丕噩 賱賲乇丕噩毓丞 禺丕氐丞 亘賴丕.. 賵賴匕丕 賲丕 賷噩毓賱賴丕 賲爻乇丨賷丞 毓馗賷賲丞 賵禺丕賱丿丞 賱兀賳賴丕 氐毓亘丞 毓賱賶 丕賱鬲兀賵賷賱 賵丕賱鬲賮爻賷乇 丕賱賲亘丕卮乇 賵鬲卮睾賱 丕賱賮賰乇 賵丕賱禺賷丕賱.
賴丕賲: 賱賳 兀毓胤賷賰 胤毓丕賲賸丕 亘毓丿 丕賱丌賳.
賰賱賵賮: 賮賳賲賵鬲 廿匕賳.
賴丕賲: 兀毓胤賷賰 賲丕 賷賰賮賷 賮賯胤 賰賷 丕賲賳毓賰 賲賳 丕賱賲賵鬲. 爻鬲亘賯賶 噩丕卅毓賸丕 胤賷賱丞 丕賱賵賯鬲.
丕賱賲賰丕賳: 賲爻乇丨 毓丕乇賺 賵丕賱囟賵亍 乇賲丕丿賷. 賱丕 賷丨鬲賵賷 廿賱丕 毓賱賶 賰乇爻賷貙 氐賳丿賵賯賷賻 賯賲丕賲丞貙 賳丕賮匕鬲丕賳 賲乇鬲賮毓鬲丕賳 賵賱賵丨丞 賵噩賴賴丕 賱賱丨丕卅胤. 賵賰賱 卮賷 禺丕乇噩 賴匕賴 丕賱睾乇賮丞 賷賲賱丐賴 丕賱賲賵鬲 賵丕賱毓丿賲. 賰兀賳賴 賷乇賲賷 丕賱賶 丕賳 丕賱丨賷丕丞 賮丕乇睾丞 兀卮亘賴 亘爻噩賳 賳鬲賳.
丕賱卮禺氐賷丕鬲: 賴丕賲貙 賲購賯毓賻丿 賵囟乇賷乇.
賰賱賵賮貙 禺丕丿賲貙 丕亘賳 (賱賲 賷丨丿丿 亘丕賱囟亘胤 賲賳 卮禺氐賷鬲賴) 丕賱卮禺氐 丕賱賵丨賷丿 丕賱賯丕丿乇 毓賱賶 丕賱丨乇賰丞 亘丕賱賲爻乇丨賷丞貙 賵睾賷乇 賯丕丿乇 毓賱賶 丕賱噩賱賵爻.
賳丕噩 賵賳賷賱: 賵丕賱丿丕 賴丕賲貙 賷毓賷卮丕賳 賮賷 氐賳丿賵賯賷 賯賲丕賲丞 賵賲賯胤賵毓賷 丕賱兀乇噩賱.
丕賱夭賲丕賳: 夭賲丕賳 賱丕 賷鬲丨乇賰貙 孬丕亘鬲 賮賷 賳賯胤丞 丕賱氐賮乇.
賴丕賲: 賰賲 丕賱爻丕毓丞責
賰賱賵賮: 廿賷丕賴丕 賰丕賱毓丕丿丞.
賴丕賲: 賴賱 賳馗乇鬲責
賰賱賵賮: 賳毓賲.
賴丕賲: 賵賲丕匕丕 賵噩丿鬲責
賰賱賵賮: 氐賮乇賸丕.
丕賱亘賳丕亍 丕賱丿乇丕賲賷 丕賵 丕賱兀丨丿丕孬 鬲兀禺匕 卮賰賱賸丕 禺胤賷賸丕貙 睾賷乇 賲鬲賳丕賲賷丞 鬲乇賲夭 賱賱乇鬲丕亘丞 賵丕賱賲賱賱 賵毓丿賲 賵噩賵丿 賴丿賮 賲賳 丕賱丨賷丕丞.
賯賻丿賻賾賲 丕賱丨賵丕乇丕鬲 亘胤乇賷賯丞 賲亘鬲賵乇丞 賵鬲賲賱丐賴丕 丕賱爻禺乇賷丞 賵丕賱鬲賴賰賲貙 丕匕丕 兀賳賴丕 乇丿丞 丕賱賮毓賱 丕賱賲賳丕爻亘丞 鬲噩丕賴 丕賱賲毓丕賳丕丞 賵毓丿賲 丕賱噩丿賵賶 賵丕賱乇鬲丕亘丞 丕賱鬲賷 賷毓賷卮賵賳 賮賷賴丕貙 丕匕丕 賱丕 卮賷 賷丿毓賵 賱賱囟丨賰 兀賰孬乇 賲賳 丕賱鬲毓丕爻丞.
賵兀賷囟丕 爻禺乇 賲賳 丕賱丿賷賳 賵丕賱廿賱賴 兀賷賳賲丕 匕購賰賽乇賵丕貙 賲賳 禺賱丕賱 毓乇囟賴 賱賳賰鬲丞 毓賱賶 賱爻丕賳 賳丕噩 毓賳 卮禺氐 丕丨鬲丕噩 賱亘賳胤賱賵賳 賲購賯賻賱賻賾賲 賱廿丨鬲賮丕賱丕鬲 乇兀爻 丕賱爻賳丞. 賮賯氐丿 丕賱禺賷丕胤 賱禺賷丕胤鬲賴貙 賱賰賳 丕賱禺賷丕胤 賷鬲兀禺乇 賱孬賱丕孬丞 兀卮賴乇 賱氐賳毓 丕賱亘賳胤賱賵賳貙 賮賷兀鬲賷賴 丕賱夭亘賵賳 睾丕囟亘賸丕: 賱毓賳丞 丕賱賱賴 毓賱賷賰. 賴匕賴 賯賱賾丞 兀丿亘. 賮賷 爻鬲丞 兀賷丕賲貙 賴賱 鬲爻賲毓賳賷貙 賮賷 爻鬲丞 兀賷丕賲 氐賳毓 丕賱賱賴 丕賱毓丕賱賲. 賳毓賲 賷丕 爻賷丿賷. 賵兀賳鬲 賱賲 鬲賯丿乇 毓賱賶 兀賳 鬲氐賳毓 賱賷 亘賳胤賱賵賳賸丕 賮賷 孬賱丕孬丞 兀卮賴乇...
賮賷噩賷亘賴 丕賱禺賷丕胤: 賱賰賳 賷丕 爻賷丿賷 丕賱毓夭賷夭貙 丕賳馗乇貙 丕賳馗乇 (賷卮賷乇 亘丕丨鬲賯丕乇 賵丕卮賲卅夭丕夭) 丕賳馗乇 廿賱賶 丕賱毓丕賱賲 (氐賲鬲) 賵丕賳馗乇 (賷卮賷乇 亘丕毓鬲夭丕夭 賵丨亘) 丕賱賶 丕賱亘賳胤賱賵賳 丕賱匕賷 氐賳毓鬲賴.
賱賲 賷丨丿丿 亘賷賰賷鬲 夭賲丕賳 賵賲賰丕賳 丕賱賲爻乇丨賷丞貙 丕匕丕 賱賳 賷賰賵賳 賴賳丕賰 賮乇賯貙 賮賲鬲賶 賵購噩丿鬲 賵丕賷賳賲丕 賰賳鬲貙 賱賳 鬲賳噩賵 賲賳 丕賱賲毓丕賳丕丞貙 賮賰兀賳賴丕 賲爻乇丨賷丞 毓賳 賰賱 夭賲丕賳 賵賲賰丕賳. 賵亘丨丕賱丞 賴丕賲 賵賲毓丕賳丕鬲賴 賲賳 丕賳鬲賴丕亍 丕賱丨亘賵亘 丕賱賲爻賰賳丞 賮賱賲 賷毓丿 賷噩丿 賲丕 賷禺賮賮 賲賳 兀賱賲賴 賵卮毓賵乇賴 亘丕賱賮乇丕睾 賵毓丿賲 丕賱乇囟丕 毓賳 丕賱賵丕賯毓貨 賴賵 亘爻亘亘 兀賳賴 賱賲 賷購毓胤賷 兀賵 賷氐賳毓 賲毓賳賶 賱丨賷丕鬲賴貙 丕匕 賱賲 賷賰賳 賱丿賷賴 廿賷賲丕賳 亘廿賱賴 賵賱賲 賷丨馗賻 亘丕賱丨亘 丕賱匕賷 馗賱 賷鬲禺賷賱賴貙 賵馗賱 賳丕賯賲賸丕 毓賱賶 賵丕賱丿賴 賱兀賳賴 兀賳噩亘賴.
亘乇兀賷賷 兀賳賴 賱丕 賷賲賰賳 賱賲乇丕噩毓丞 賵丕丨丿丞 兀賳 鬲賳丕賯卮 噩賲賷毓 丕賱兀賮賰丕乇 丕賱鬲賷 賵乇丿鬲 亘丕賱賲爻乇丨賷丞貙 丕匕丕 丕賳 賰賱 噩賲賱丞 鬲丨鬲丕噩 賱賲乇丕噩毓丞 禺丕氐丞 亘賴丕.. 賵賴匕丕 賲丕 賷噩毓賱賴丕 賲爻乇丨賷丞 毓馗賷賲丞 賵禺丕賱丿丞 賱兀賳賴丕 氐毓亘丞 毓賱賶 丕賱鬲兀賵賷賱 賵丕賱鬲賮爻賷乇 丕賱賲亘丕卮乇 賵鬲卮睾賱 丕賱賮賰乇 賵丕賱禺賷丕賱.
賴丕賲: 賱賳 兀毓胤賷賰 胤毓丕賲賸丕 亘毓丿 丕賱丌賳.
賰賱賵賮: 賮賳賲賵鬲 廿匕賳.
賴丕賲: 兀毓胤賷賰 賲丕 賷賰賮賷 賮賯胤 賰賷 丕賲賳毓賰 賲賳 丕賱賲賵鬲. 爻鬲亘賯賶 噩丕卅毓賸丕 胤賷賱丞 丕賱賵賯鬲.
March 30, 2012
My youngest daughter took me to see this during the week. We had our first beer together prior to the performance in a pub 鈥� a highly significant moment for a father, obviously, especially here in the land of Oz, the land of the amber fluid.
Then a minute ago I read the Wiki article on this play. I wanted to be sure it was written post-WW2. You see, it is so obviously a post-nuclear war play that I would have been very disappointed if it had been written in 1922 or something. You know, the way TSE鈥檚 line, 鈥淚鈥檒l show you fear in a handful of dust鈥�, really ought to be a reference to nuclear war, and yet it just can鈥檛 be. It is very amusing that Beckett would say this isn鈥檛 about post-nuclear war. Exactly the sort of thing you would expect him to say.
Anyway, this is a comedy about things it should be impossible to find funny. If the Irish can claim to have done anything for Western Civilisation, perhaps that is it, to have tried to find ways to get us to laugh about things we really shouldn鈥檛 laugh at. It is, I believe, what helps to form the strange connection I have in my mind between Jews and the Irish. Although, perhaps the Irish were lucky enough not to be chosen, not only not chosen, but hardly even picked. The mother in this says, 鈥淣othing is funnier than unhappiness鈥� 鈥� which is easily the funniest line in the play 鈥� and also the play鈥檚 most important line. If you are writing a play and can achieve that, you鈥檝e done well. Like I said, the question here is how do you make a comedy out of this material? When all you have are the last people on earth perishing away for want of everything, two of them even actually living in rubbish bins. It is probably only possible to think to do this, or even think it necessary to be done, if you are Irish or Jewish.
And yet, this is a remarkable play. Even the constant farce seems to only heighten the pathos of the thing 鈥� and bathos too, obviously.
Then a minute ago I read the Wiki article on this play. I wanted to be sure it was written post-WW2. You see, it is so obviously a post-nuclear war play that I would have been very disappointed if it had been written in 1922 or something. You know, the way TSE鈥檚 line, 鈥淚鈥檒l show you fear in a handful of dust鈥�, really ought to be a reference to nuclear war, and yet it just can鈥檛 be. It is very amusing that Beckett would say this isn鈥檛 about post-nuclear war. Exactly the sort of thing you would expect him to say.
Anyway, this is a comedy about things it should be impossible to find funny. If the Irish can claim to have done anything for Western Civilisation, perhaps that is it, to have tried to find ways to get us to laugh about things we really shouldn鈥檛 laugh at. It is, I believe, what helps to form the strange connection I have in my mind between Jews and the Irish. Although, perhaps the Irish were lucky enough not to be chosen, not only not chosen, but hardly even picked. The mother in this says, 鈥淣othing is funnier than unhappiness鈥� 鈥� which is easily the funniest line in the play 鈥� and also the play鈥檚 most important line. If you are writing a play and can achieve that, you鈥檝e done well. Like I said, the question here is how do you make a comedy out of this material? When all you have are the last people on earth perishing away for want of everything, two of them even actually living in rubbish bins. It is probably only possible to think to do this, or even think it necessary to be done, if you are Irish or Jewish.
And yet, this is a remarkable play. Even the constant farce seems to only heighten the pathos of the thing 鈥� and bathos too, obviously.
February 3, 2024
丕氐賱丕 賳賲蹖鈥屫堎嗁� 鬲賵囟蹖丨 亘丿賲 讴賴 趩乇丕 丕蹖賳 賳賲丕蹖卮賳丕賲賴 乇賵 丿賵爻鬲 丿丕卮鬲賲 趩賵賳 讴丕賲賱丕賸 賲鬲囟丕丿 亘丕 趩蹖夭賴丕蹖蹖 亘賵丿 讴賴 賲賳 賲毓賲賵賱丕賸 賲蹖鈥屬矩迟嗀�. 诏賳诏蹖 亘蹖鈥屬嗁囏й屫� 卮乇賵毓 賳丕賲卮禺氐貙 倬丕蹖丕賳 賳丕賲卮禺氐貙 丿蹖丕賱賵诏鈥屬囏й� 毓噩蹖亘 賵 睾乇蹖亘 賵 丌卮賮鬲賴 賴賲賴 趩蹖夭賴丕蹖蹖 賴爻鬲賳丿 讴賴 賲賳 乇賵 丿蹖賵丕賳賴 賲蹖鈥屭┵嗁嗀�. 丕賲丕 丕蹖賳噩丕 賳賴
亘丕 毓賱丕賯賴 鬲丕 讴賱賲賴鈥屰� 丌禺乇 丕蹖賳 丌卮賮鬲诏蹖 乇賵 禺賵賳丿賲 賵 噩賱爻賴鈥屫й� 讴賴 丿乇 亘賵讴鈥屭┵勜ж� 乇丕噩毓 亘賴卮 氐丨亘鬲 讴乇丿蹖賲 賴賲賴 趩蹖夭 乇賵 亘賴鬲乇賲 讴乇丿. 賲賳 賯亘賱 丕夭 禺賵賳丿賳 賳賲丕蹖卮賳丕賲賴 乇丕噩毓 亘賴卮 賲胤丕賱毓賴 賳讴乇丿賴 亘賵丿賲 讴賴 匕賴賳賲 亘丕夭 亘丕卮賴 賵 亘鬲賵賳賲 丌夭丕丿丕賳賴 鬲氐賵乇 讴賳賲. 丕賲丕 丕蹖賳讴賴 亘毓丿卮 丿乇 氐丨亘鬲鈥屬囏� 賲鬲賵噩賴 卮丿賲 讴賴 丿乇賵賳鈥屬呚й屬団€屰� 丕氐賱蹖 賲毓賱賵賱蹖鬲 賴爻鬲 亘乇丕賲 禺蹖賱蹖 噩丕賱亘 亘賵丿
丿乇 乇丕亘胤賴 亘丕 賲賵囟賵毓 賳賲丕蹖卮賳丕賲賴 賴乇 趩賯丿乇 讴賲鬲乇 诏賮鬲賴 亘卮賴 亘賴 賳馗乇賲 亘賴鬲乇賴. 亘丕蹖丿 讴賵乇賽 讴賵乇 亘賴 爻乇丕睾卮 乇賮鬲 賵 丿乇 丌卮賮鬲诏蹖卮 丿爻鬲 賵 倬丕 夭丿
讴丕賳丕賱 鬲賱诏乇丕賲 乇蹖賵蹖賵賴丕 賵 丿丕賳賱賵丿 讴鬲丕亘鈥屬囏� 賵 氐賵鬲蹖卮賵賳
乇蹖賵蹖賵 亘丕 鬲丕禺蹖乇
郾鄞郯鄄/郾郾/郾鄢
亘丕 毓賱丕賯賴 鬲丕 讴賱賲賴鈥屰� 丌禺乇 丕蹖賳 丌卮賮鬲诏蹖 乇賵 禺賵賳丿賲 賵 噩賱爻賴鈥屫й� 讴賴 丿乇 亘賵讴鈥屭┵勜ж� 乇丕噩毓 亘賴卮 氐丨亘鬲 讴乇丿蹖賲 賴賲賴 趩蹖夭 乇賵 亘賴鬲乇賲 讴乇丿. 賲賳 賯亘賱 丕夭 禺賵賳丿賳 賳賲丕蹖卮賳丕賲賴 乇丕噩毓 亘賴卮 賲胤丕賱毓賴 賳讴乇丿賴 亘賵丿賲 讴賴 匕賴賳賲 亘丕夭 亘丕卮賴 賵 亘鬲賵賳賲 丌夭丕丿丕賳賴 鬲氐賵乇 讴賳賲. 丕賲丕 丕蹖賳讴賴 亘毓丿卮 丿乇 氐丨亘鬲鈥屬囏� 賲鬲賵噩賴 卮丿賲 讴賴 丿乇賵賳鈥屬呚й屬団€屰� 丕氐賱蹖 賲毓賱賵賱蹖鬲 賴爻鬲 亘乇丕賲 禺蹖賱蹖 噩丕賱亘 亘賵丿
丿乇 乇丕亘胤賴 亘丕 賲賵囟賵毓 賳賲丕蹖卮賳丕賲賴 賴乇 趩賯丿乇 讴賲鬲乇 诏賮鬲賴 亘卮賴 亘賴 賳馗乇賲 亘賴鬲乇賴. 亘丕蹖丿 讴賵乇賽 讴賵乇 亘賴 爻乇丕睾卮 乇賮鬲 賵 丿乇 丌卮賮鬲诏蹖卮 丿爻鬲 賵 倬丕 夭丿
讴丕賳丕賱 鬲賱诏乇丕賲 乇蹖賵蹖賵賴丕 賵 丿丕賳賱賵丿 讴鬲丕亘鈥屬囏� 賵 氐賵鬲蹖卮賵賳
乇蹖賵蹖賵 亘丕 鬲丕禺蹖乇
郾鄞郯鄄/郾郾/郾鄢
November 24, 2017
賷賯賵賱 丕賱賳賯丕丿 亘兀賳 賳賴丕賷丞 丕賱賱毓亘丞 賴賷 亘賲孬丕亘丞 噩夭亍 孬丕賳賷 賱賲爻乇丨賷丞 賮賷 丕賳鬲馗丕乇 噩賵丿賵 丕賱鬲賷 鬲賲乇賰夭鬲 賴賵 毓丿賲賷丞 丕賱丨賷丕丞貙 賱賰賳 賮賷 賴匕賴 丕賱賲爻乇丨賷丞 鬲賳丕賵賱 亘賷賰賷鬲 丕賱賳赖丕賷丞貙 丕賱賲賵鬲.
賰丕賱毓丕丿丞 賮賷 賲爻乇丨 丕賱毓亘孬 賱丕 賵噩賵丿 賱賱賵賯鬲貙 鬲丿賵乇 丕賱賲爻乇丨賷丞 賮賷 賲賰丕賳 賵丕丨丿 賮賷 睾乇賮丞 亘賴丕 兀乇亘毓 卮禺氐賷丕鬲 賰賱賴賲 匕賵賶 毓丕賴丕鬲貙 賱丕 兀丨丿 賮賷賴賲 賰丕賲賱 賵賲鬲毓丕賮賷 噩爻丿賷賸丕貙 賴丕賲 丕賱匕賷 賱丕 賷爻鬲胤賷毓 丕賱賵賯賵賮 賵賴賵 丕賱匕賷 賷鬲丨賰賲 賮賷 丕賱噩賲賷毓貙 賵賰賱賵賮 丕賱匕賷 賱丕 賷爻鬲胤賷毓 丕賱噩賱賵爻 賵賱丕 賷賮毓賱 卮賷卅賸丕 爻賵賶 廿胤丕毓丞 兀賵丕賲乇 賴丕賲 賵賷馗賱 賷爻兀賱賴 賱賲丕匕丕 賷胤賷毓賴 賱賰賳賴 賱丕 賷毓乇賮貙 賴賵 賷卮亘賴 丕爻鬲乇丕噩賵賳 賮賷 鬲賰乇丕乇賴 亘兀賳賴 爻賷乇丨賱 賱賰賳賴 賱丕 賷爻鬲胤賷毓 丕賱乇丨賷賱.. 賵兀亘賵丕賳 賴丕賲 賵賴賲丕 賳賷賱 賵賳丕噩 丕賱賱匕丕賳 賷毓賷卮丕賳 賮賷 氐賳丿賵賯賷 丕賱賯賲丕賲丞.. 賱丕 賲毓賳賶 賱兀賷 卮賷亍 賴賳丕 爻賵賶 賮賷 丕賱丨賵丕乇貙 賵丕賱匕賷 爻賳噩丿賴 賲賰乇乇賸丕 賵賲亘鬲賵乇賸丕.
賲爻乇丨賷丞 乇丕卅毓丞貙 賮賷 賳馗乇賷 兀賳 丕賱丨賵丕乇 賵丕賱廿胤丕乇 丕賱賲爻乇丨賷 賴賳丕 兀賯賵賶 賲賳 賮賷 丕賳鬲馗丕乇 噩賵丿賵貙 賱賰賳 丕賱孬丕賳賷丞 兀毓噩亘鬲賳賷 兀賰孬乇 賲賳 丕賱兀賵賱賶 亘丕賱乇睾賲 賲賳 賴匕丕.
賰丕賱毓丕丿丞 賮賷 賲爻乇丨 丕賱毓亘孬 賱丕 賵噩賵丿 賱賱賵賯鬲貙 鬲丿賵乇 丕賱賲爻乇丨賷丞 賮賷 賲賰丕賳 賵丕丨丿 賮賷 睾乇賮丞 亘賴丕 兀乇亘毓 卮禺氐賷丕鬲 賰賱賴賲 匕賵賶 毓丕賴丕鬲貙 賱丕 兀丨丿 賮賷賴賲 賰丕賲賱 賵賲鬲毓丕賮賷 噩爻丿賷賸丕貙 賴丕賲 丕賱匕賷 賱丕 賷爻鬲胤賷毓 丕賱賵賯賵賮 賵賴賵 丕賱匕賷 賷鬲丨賰賲 賮賷 丕賱噩賲賷毓貙 賵賰賱賵賮 丕賱匕賷 賱丕 賷爻鬲胤賷毓 丕賱噩賱賵爻 賵賱丕 賷賮毓賱 卮賷卅賸丕 爻賵賶 廿胤丕毓丞 兀賵丕賲乇 賴丕賲 賵賷馗賱 賷爻兀賱賴 賱賲丕匕丕 賷胤賷毓賴 賱賰賳賴 賱丕 賷毓乇賮貙 賴賵 賷卮亘賴 丕爻鬲乇丕噩賵賳 賮賷 鬲賰乇丕乇賴 亘兀賳賴 爻賷乇丨賱 賱賰賳賴 賱丕 賷爻鬲胤賷毓 丕賱乇丨賷賱.. 賵兀亘賵丕賳 賴丕賲 賵賴賲丕 賳賷賱 賵賳丕噩 丕賱賱匕丕賳 賷毓賷卮丕賳 賮賷 氐賳丿賵賯賷 丕賱賯賲丕賲丞.. 賱丕 賲毓賳賶 賱兀賷 卮賷亍 賴賳丕 爻賵賶 賮賷 丕賱丨賵丕乇貙 賵丕賱匕賷 爻賳噩丿賴 賲賰乇乇賸丕 賵賲亘鬲賵乇賸丕.
賲爻乇丨賷丞 乇丕卅毓丞貙 賮賷 賳馗乇賷 兀賳 丕賱丨賵丕乇 賵丕賱廿胤丕乇 丕賱賲爻乇丨賷 賴賳丕 兀賯賵賶 賲賳 賮賷 丕賳鬲馗丕乇 噩賵丿賵貙 賱賰賳 丕賱孬丕賳賷丞 兀毓噩亘鬲賳賷 兀賰孬乇 賲賳 丕賱兀賵賱賶 亘丕賱乇睾賲 賲賳 賴匕丕.
December 25, 2021
賯丿 賷亘丿賵 亘賷賰賷鬲 卮禺氐丕賸 賷賵丿 丕賱鬲禺賱氐 賲賳 丕賱毓丕賱賲貙 賱賰賳賴 賮賷 丕賱丨賯賷賯丞 賷賵丿 丕賱鬲禺賱氐 賲賳 賳賮爻賴.
賵賯丿 賷亘丿賵 丕賱兀賲乇丕賳 爻賵丕亍 賲賳 丨賷孬 丕賱賳鬲賷噩丞貙 賱賰賳賴賲丕 賱賷爻丕 賰匕賱賰 廿胤賱丕賯丕賸 賲賳 丨賷孬 丕賱噩賵賴乇 :')
" 兀賳鬲 毓賱賶 丕賱兀乇囟貙 賵賱丕 毓賱丕噩 賱匕賱賰.! "
賲毓 鬲噩丿賷丿 丕賱丨亘 丿賵賲丕賸 賱賴匕丕 丕賱乇賲丕丿賷 丕賱噩賲賷賱 鉂わ笍
賵賯丿 賷亘丿賵 丕賱兀賲乇丕賳 爻賵丕亍 賲賳 丨賷孬 丕賱賳鬲賷噩丞貙 賱賰賳賴賲丕 賱賷爻丕 賰匕賱賰 廿胤賱丕賯丕賸 賲賳 丨賷孬 丕賱噩賵賴乇 :')
" 兀賳鬲 毓賱賶 丕賱兀乇囟貙 賵賱丕 毓賱丕噩 賱匕賱賰.! "
賲毓 鬲噩丿賷丿 丕賱丨亘 丿賵賲丕賸 賱賴匕丕 丕賱乇賲丕丿賷 丕賱噩賲賷賱 鉂わ笍
April 24, 2014
It is too late in the day and no hope is left.
鈥淚s it not time for my pain-killer? Yes. Ah! At last! Give it to me! Quick! There's no more pain-killer鈥�.
Life is at its finish and there's nothing left except sad memories and despondent loneliness. So the entire world seems to be dying as well. Samuel Beckett is inimitable and when it comes to absurdity no one can get any higher.
鈥淚s it not time for my pain-killer? Yes. Ah! At last! Give it to me! Quick! There's no more pain-killer鈥�.
Life is at its finish and there's nothing left except sad memories and despondent loneliness. So the entire world seems to be dying as well. Samuel Beckett is inimitable and when it comes to absurdity no one can get any higher.
January 14, 2020
脡crite peu apr猫s la deuxi猫me Guerre Mondiale (脿 peu pr猫s 脿 la m锚me 茅poque ou un peu plus tard que ), Fin de partie se d茅roule dans une sorte de bunker, entour茅 d'un paysage d茅vast茅 de science-fiction. Les quatre personnages qui restent sont des survivants moribonds ou mal en point : Hamm est dans une chaise roulante, Clov est 脿 peine plus vaillant, Nagg et Nell vivent dans une poubelle-cercueil (pr茅figurant l'ensablement de ). Leur histoire et les raisons de leur pr茅sence ici, bien que sugg茅r茅es, restent myst茅rieuses.
Malgr茅 la mesquinerie des personnages et la violence des relations qui se joue entre eux, les r茅pliques sont savoureuses et, bien souvent, dr么les ; parfois m锚me 茅mouvantes. Comme souvent dans l'茅criture de Beckett, les didascalies et la pantomime sont omnipr茅sentes.
Malgr茅 la mesquinerie des personnages et la violence des relations qui se joue entre eux, les r茅pliques sont savoureuses et, bien souvent, dr么les ; parfois m锚me 茅mouvantes. Comme souvent dans l'茅criture de Beckett, les didascalies et la pantomime sont omnipr茅sentes.
October 10, 2019
"亘賴 禺賵丿賲 賲蹖诏賲 讴賴 夭賲蹖賳 禺丕賲賵卮 卮丿賴 賴乇 趩賳丿 賴蹖趩賵賯鬲 乇賵卮賳 卮丿賳卮 乇賵 賳丿蹖丿賲"
丕夭 爻丕蹖鬲 賳賯丿 乇賵夭: (賵丕賯毓丕 賴賲趩蹖賳 賳賲丕蹖卮賳丕賲賴 丕蹖蹖 賳蹖丕夭 亘賴 鬲丨賱蹖賱 賵 噩夭卅蹖丕鬲賽 芦亘讴鬲 卮賳丕爻禄 丿丕乇賴貙賲賳 賮賯胤 亘禺卮蹖 丕夭 賳賯丿 乇賵 賲蹖匕丕乇賲)
卮禺氐蹖鬲 賴丕蹖 賳賲丕蹖卮賳丕賲賴 賴丕蹖 亘讴鬲 禺賵丕賴丕賳 亘賴 丿爻鬲 丌賵乇丿賳 丌夭丕丿蹖 讴丕賲賱 禺賵丿 賴爻鬲賳丿貙 丕賲丕 賯丿乇鬲 亘乇丌賵乇丿賴 讴乇丿賳 丕蹖賳 禺賵丕爻鬲賴 乇丕 賳丿丕乇賳丿貨 亘賴 卮讴賱蹖 賮乇囟蹖 丌夭丕丿賳丿貙 丕賲丕 丿乇 賵丕賯毓 鬲丕亘毓 鬲丕乇蹖禺 丌爻蹖亘 夭丕蹖 禺賵丿 丕賳丿. 丕诏乇趩賴 丌賳賴丕 卮乇丕蹖胤蹖 讴賴 丿乇 丌賳 夭蹖爻鬲 賲蹖 讴賳賳丿 乇丕 乇丕囟蹖 讴賳賳丿賴 賳賲蹖 亘蹖賳賳丿貙 丕賲丕 趩丕乇賴 蹖 丿蹖诏乇蹖 賳蹖夭 賳丿丕乇賳丿.
亘乇丕蹖 亘讴鬲 丕賳爻丕賳 亘賴 賯蹖丿 賲卮乇賵胤 丌夭丕丿 丕爻鬲. 卮禺氐蹖鬲 賴丕蹖 丕賵 賴賲賵丕乇賴 丿乇 賲讴丕賳蹖 賳丕 賲毓賱賵賲 丿乇 噩爻鬲 賵 噩賵蹖 賲毓賳丕 丿乇 亘蹖 賲毓賳丕蹖蹖 賴爻鬲賳丿貙 亘丕 诏匕卮鬲賴 丕蹖 讴賴 鬲賳賴丕 賯爻賲鬲蹖 丕夭 丌賳 乇丕 亘賴 蹖丕丿 賲蹖 丌賵乇賳丿.
爻亘讴: 丕亘夭賵乇丿/诏乇賵鬲爻讴 (丕孬乇蹖 丌賲蹖禺鬲賴 亘丕 胤賳夭 鬲賱禺 賵 乇蹖卮禺賳丿 賲賵賯毓蹖鬲 賲鬲夭賱夭賱 丕賳爻丕賳 賲丿乇賳).
鬲賲: 丕爻丕乇鬲貙 亘賴乇賴 讴卮蹖 賵 丕爻鬲孬賲丕乇貙 倬賵趩蹖貙 賲乇诏 賵 丕賳鬲賴丕蹖 亘丕夭蹖 夭賳丿诏蹖貙 鬲賳賴丕卅蹖 賵 毓丿賲 亘乇賯乇丕乇蹖 丕乇鬲亘丕胤 亘丕 賴賲賳賵毓 賵 蹖丕 丨鬲丕 倬蹖丿丕 賳讴乇丿賳 丕亘夭丕乇 丕乇鬲亘丕胤貙 鬲讴乇丕乇 賵 乇賵夭賲乇诏蹖..
賳賵毓 讴卮賲讴卮: 丕賳爻丕賳 亘乇 囟丿 丕賳爻丕賳/ 丕賳爻丕賳 亘乇 囟丿 噩丕賲毓賴 (賴丕賲 讴賴 賳賲丕丿 賯卮乇 亘賴乇賴 讴卮 噩丕賲毓賴 丕爻鬲 賵 讴賱丕賵 讴賴 賳賲丕丿 賯卮乇 亘乇丿賴 蹖 噩丕賲毓賴 丕爻
丌禺乇 亘丕夭蹖 亘讴鬲貙卮亘蹖賴 賳賲丕蹖卮賳丕賲賴 丿乇 丕賳鬲馗丕乇 诏賵丿賵 亘賵丿賴!
丿乇 丕賳鬲馗丕乇 賳蹖爻鬲蹖 賵 賲乇诏
丕夭 爻丕蹖鬲 賳賯丿 乇賵夭: (賵丕賯毓丕 賴賲趩蹖賳 賳賲丕蹖卮賳丕賲賴 丕蹖蹖 賳蹖丕夭 亘賴 鬲丨賱蹖賱 賵 噩夭卅蹖丕鬲賽 芦亘讴鬲 卮賳丕爻禄 丿丕乇賴貙賲賳 賮賯胤 亘禺卮蹖 丕夭 賳賯丿 乇賵 賲蹖匕丕乇賲)
卮禺氐蹖鬲 賴丕蹖 賳賲丕蹖卮賳丕賲賴 賴丕蹖 亘讴鬲 禺賵丕賴丕賳 亘賴 丿爻鬲 丌賵乇丿賳 丌夭丕丿蹖 讴丕賲賱 禺賵丿 賴爻鬲賳丿貙 丕賲丕 賯丿乇鬲 亘乇丌賵乇丿賴 讴乇丿賳 丕蹖賳 禺賵丕爻鬲賴 乇丕 賳丿丕乇賳丿貨 亘賴 卮讴賱蹖 賮乇囟蹖 丌夭丕丿賳丿貙 丕賲丕 丿乇 賵丕賯毓 鬲丕亘毓 鬲丕乇蹖禺 丌爻蹖亘 夭丕蹖 禺賵丿 丕賳丿. 丕诏乇趩賴 丌賳賴丕 卮乇丕蹖胤蹖 讴賴 丿乇 丌賳 夭蹖爻鬲 賲蹖 讴賳賳丿 乇丕 乇丕囟蹖 讴賳賳丿賴 賳賲蹖 亘蹖賳賳丿貙 丕賲丕 趩丕乇賴 蹖 丿蹖诏乇蹖 賳蹖夭 賳丿丕乇賳丿.
亘乇丕蹖 亘讴鬲 丕賳爻丕賳 亘賴 賯蹖丿 賲卮乇賵胤 丌夭丕丿 丕爻鬲. 卮禺氐蹖鬲 賴丕蹖 丕賵 賴賲賵丕乇賴 丿乇 賲讴丕賳蹖 賳丕 賲毓賱賵賲 丿乇 噩爻鬲 賵 噩賵蹖 賲毓賳丕 丿乇 亘蹖 賲毓賳丕蹖蹖 賴爻鬲賳丿貙 亘丕 诏匕卮鬲賴 丕蹖 讴賴 鬲賳賴丕 賯爻賲鬲蹖 丕夭 丌賳 乇丕 亘賴 蹖丕丿 賲蹖 丌賵乇賳丿.
爻亘讴: 丕亘夭賵乇丿/诏乇賵鬲爻讴 (丕孬乇蹖 丌賲蹖禺鬲賴 亘丕 胤賳夭 鬲賱禺 賵 乇蹖卮禺賳丿 賲賵賯毓蹖鬲 賲鬲夭賱夭賱 丕賳爻丕賳 賲丿乇賳).
鬲賲: 丕爻丕乇鬲貙 亘賴乇賴 讴卮蹖 賵 丕爻鬲孬賲丕乇貙 倬賵趩蹖貙 賲乇诏 賵 丕賳鬲賴丕蹖 亘丕夭蹖 夭賳丿诏蹖貙 鬲賳賴丕卅蹖 賵 毓丿賲 亘乇賯乇丕乇蹖 丕乇鬲亘丕胤 亘丕 賴賲賳賵毓 賵 蹖丕 丨鬲丕 倬蹖丿丕 賳讴乇丿賳 丕亘夭丕乇 丕乇鬲亘丕胤貙 鬲讴乇丕乇 賵 乇賵夭賲乇诏蹖..
賳賵毓 讴卮賲讴卮: 丕賳爻丕賳 亘乇 囟丿 丕賳爻丕賳/ 丕賳爻丕賳 亘乇 囟丿 噩丕賲毓賴 (賴丕賲 讴賴 賳賲丕丿 賯卮乇 亘賴乇賴 讴卮 噩丕賲毓賴 丕爻鬲 賵 讴賱丕賵 讴賴 賳賲丕丿 賯卮乇 亘乇丿賴 蹖 噩丕賲毓賴 丕爻
丌禺乇 亘丕夭蹖 亘讴鬲貙卮亘蹖賴 賳賲丕蹖卮賳丕賲賴 丿乇 丕賳鬲馗丕乇 诏賵丿賵 亘賵丿賴!
丿乇 丕賳鬲馗丕乇 賳蹖爻鬲蹖 賵 賲乇诏
October 12, 2020
While I enjoyed reading some of Beckett's other plays, this one didn't work so well for me because I have seen a pretty good production of it, thus without the visuals is just wasn't as good at conveying everything. It does contain all his trademarks though - sarcasm, absurdism, irony, gallows humour, but something like Waiting for Godot or Happy days I just found worked better. It didn't help either that my copy was of a very poor print, which put my tired eyes through the ringer. Beckett is arguably the master when it comes to the 'Theatre of the Absurd', but this one didn't leave its mark like some others. However it does reflect Beckett's previous marriage to some extent and demonstrates his great use of dark humour, that no doubt illustrates his genius mind when it comes writing plays of a certain type.
April 2, 2017
L锚-se em pouco mais de uma hora, mas fica colado 脿 pele; um dia, uma semana, uma vida. Beckett n茫o se esquece. Assim como n茫o se esquece a inquieta莽茫o que as suas pe莽as provocam: a confus茫o de sentimentos, o vazio, a ang煤stia鈥orque leva-nos ao limite, faz-nos rir e sabemos que n茫o era para rir, era para chorar, caramba! Era para gritar!
Foi a pe莽a mais sombria que li de Samuel Beckett, agora, 茅 apanhar os cacos e tentar restaurar a ru铆na emocional.
Foi a pe莽a mais sombria que li de Samuel Beckett, agora, 茅 apanhar os cacos e tentar restaurar a ru铆na emocional.
August 11, 2019
Looks bad in print. Perhaps up on the stage it functions as it should, as bizarro entertainment. The stuff is emblematic, yet I cannot help but place him in the company of Lewis Carol in his overenthusiastic use of randomness, meaninglessness, senseless un-seriousness. Makes me think that the play is an experiment that's just altogether useless.
October 30, 2014
蹖賴 賳賲丕蹖卮 丌禺乇丕賱夭賲丕賳蹖 鬲丕孬蹖乇诏匕丕乇. 蹖賴 丕乇亘丕亘 賵 賳賵讴乇 讴賴 丌禺乇蹖賳 亘丕夭賲丕賳丿賴鈥屬囏й� 賳爻賱 亘卮乇蹖 賴爻鬲賳. 丿賵 賳賮乇蹖 讴賴 乇賵夭賴丕蹖 丌禺乇卮賵賳 乇賵 賲丨讴賵賲 賴爻鬲賳丿 亘賴 賴賲. 丿賵 賳賮乇蹖 讴賴 亘丕 丕蹖賳鈥屭┵� 爻丕賱鈥屬囏� 倬蹖卮 賴賲 亘賵丿賳 鬲賵丕賳丕蹖蹖 亘乇賯乇丕乇蹖 讴賵趩讴鈥屫臂屬� 丕乇鬲亘丕胤 丕賳爻丕賳蹖 乇賵 賴賲 賳丿丕乇賳丿. 丌卮賳丕 賳蹖爻鬲責 蹖賴 噩賵乇賴丕蹖蹖 賯氐賴鈥屰� 賴賲蹖賳 乇賵夭賴丕蹖 賲丕爻鬲
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讴賱丕 賳賲丕蹖卮鈥屬嗀з呝団€屫堎� 禺賵亘蹖 賳蹖爻鬲賲. 趩賵賳 鬲丕 賲蹖丕賲 鬲賵囟蹖丨丕鬲 賳賲丕蹖卮鈥屬嗀з呝団€屬嗁堐屫� 乇賵 丿乇 賲賵乇丿 賵丕讴賳卮 亘丕夭蹖诏乇丕 賵 胤乇丕丨蹖 氐丨賳賴 亘禺賵賳賲 乇卮鬲賴鈥屰� 讴賱丕賲 丿蹖丕賱賵诏鈥屬囏� 丕夭 丿爻鬲賲 賲蹖丕丿 亘蹖乇賵賳 賵 賴蹖 亘丕蹖丿 亘乇诏乇丿賲 賵 丕賵賳鈥屫� 乇賵 丕夭 丕賵賱 亘禺賵賳賲貙 賲禺氐賵氐丕 鬲賵蹖 丿蹖丕賱賵诏丕蹖 倬蹖賳诏鈥屬举堎嗂�. 丕賲丕 丕蹖賳 乇賵夭丕 蹖賴 乇丕賴 禺賵亘 倬蹖丿丕 讴乇丿賲 亘乇丕蹖 禺賵賳丿賳 賳賲丕蹖卮鈥屬嗀з呝団€屬囏й� 亘夭乇诏. 丕讴孬乇 丕蹖賳 賳賲丕蹖卮鈥屬囏� 蹖賴 賳爻禺賴鈥屰� 爻蹖賳賲丕蹖蹖 蹖丕 鬲卅丕鬲乇 鬲賱賵蹖夭蹖賵賳蹖 丿丕乇賳 讴賴 乇賵 蹖賵鬲賵亘 賴爻鬲. 賴賲蹖賳 爻丕賲賵卅賱 亘讴鬲 賴賲賴鈥屰� 讴丕乇賴丕卮 鬲丨鬲 毓賳賵丕賳 倬乇賵跇賴鈥屰� 芦亘讴鬲 丌賳 賮蹖賱賲禄 亘丕夭蹖 卮丿賴 賵 丕讴孬乇卮賵賳 乇賵 賲蹖卮賴 乇賵 蹖賵鬲賵亘 倬蹖丿丕 讴乇丿. 丌禺乇 亘丕夭蹖 乇賵 亘丕 讴賲讴 丕蹖賳 賳爻禺賴 禺賵賳丿賲. 诏匕丕卮鬲賲 賴賲蹖賳鈥屫堌� 倬禺卮 亘卮賴 賵 蹖賴 趩卮賲賲 亘賴 賲賵賳蹖鬲賵乇 亘賵丿 賵 蹖賴 趩卮賲賲 亘賴 賲鬲賳 賳賲丕蹖卮鈥屬嗀з呝�. 丕蹖賳 乇賵卮 噩賵丕亘 丿丕丿. 賱蹖賳讴 蹖賵鬲賵亘 丕蹖賳 賳賲丕蹖卮 乇賵 丕蹖賳 倬丕蹖蹖賳 賲蹖匕丕乇賲. 倬乇賵賮爻賵乇 丿丕賲亘賱丿賵乇 賴乇蹖 倬丕鬲乇 乇賵 鬲賵 賳賯卮 賴丕賲 丕夭 丿爻鬲 賳丿蹖丿
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讴賱丕 賳賲丕蹖卮鈥屬嗀з呝団€屫堎� 禺賵亘蹖 賳蹖爻鬲賲. 趩賵賳 鬲丕 賲蹖丕賲 鬲賵囟蹖丨丕鬲 賳賲丕蹖卮鈥屬嗀з呝団€屬嗁堐屫� 乇賵 丿乇 賲賵乇丿 賵丕讴賳卮 亘丕夭蹖诏乇丕 賵 胤乇丕丨蹖 氐丨賳賴 亘禺賵賳賲 乇卮鬲賴鈥屰� 讴賱丕賲 丿蹖丕賱賵诏鈥屬囏� 丕夭 丿爻鬲賲 賲蹖丕丿 亘蹖乇賵賳 賵 賴蹖 亘丕蹖丿 亘乇诏乇丿賲 賵 丕賵賳鈥屫� 乇賵 丕夭 丕賵賱 亘禺賵賳賲貙 賲禺氐賵氐丕 鬲賵蹖 丿蹖丕賱賵诏丕蹖 倬蹖賳诏鈥屬举堎嗂�. 丕賲丕 丕蹖賳 乇賵夭丕 蹖賴 乇丕賴 禺賵亘 倬蹖丿丕 讴乇丿賲 亘乇丕蹖 禺賵賳丿賳 賳賲丕蹖卮鈥屬嗀з呝団€屬囏й� 亘夭乇诏. 丕讴孬乇 丕蹖賳 賳賲丕蹖卮鈥屬囏� 蹖賴 賳爻禺賴鈥屰� 爻蹖賳賲丕蹖蹖 蹖丕 鬲卅丕鬲乇 鬲賱賵蹖夭蹖賵賳蹖 丿丕乇賳 讴賴 乇賵 蹖賵鬲賵亘 賴爻鬲. 賴賲蹖賳 爻丕賲賵卅賱 亘讴鬲 賴賲賴鈥屰� 讴丕乇賴丕卮 鬲丨鬲 毓賳賵丕賳 倬乇賵跇賴鈥屰� 芦亘讴鬲 丌賳 賮蹖賱賲禄 亘丕夭蹖 卮丿賴 賵 丕讴孬乇卮賵賳 乇賵 賲蹖卮賴 乇賵 蹖賵鬲賵亘 倬蹖丿丕 讴乇丿. 丌禺乇 亘丕夭蹖 乇賵 亘丕 讴賲讴 丕蹖賳 賳爻禺賴 禺賵賳丿賲. 诏匕丕卮鬲賲 賴賲蹖賳鈥屫堌� 倬禺卮 亘卮賴 賵 蹖賴 趩卮賲賲 亘賴 賲賵賳蹖鬲賵乇 亘賵丿 賵 蹖賴 趩卮賲賲 亘賴 賲鬲賳 賳賲丕蹖卮鈥屬嗀з呝�. 丕蹖賳 乇賵卮 噩賵丕亘 丿丕丿. 賱蹖賳讴 蹖賵鬲賵亘 丕蹖賳 賳賲丕蹖卮 乇賵 丕蹖賳 倬丕蹖蹖賳 賲蹖匕丕乇賲. 倬乇賵賮爻賵乇 丿丕賲亘賱丿賵乇 賴乇蹖 倬丕鬲乇 乇賵 鬲賵 賳賯卮 賴丕賲 丕夭 丿爻鬲 賳丿蹖丿
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April 20, 2012
I read this in English, for my British Lit class this semester. I thought I should actually start reading the assignments, and I read this after reading The Power and the Glory and Regeneration.
My professor said this piece would be slow moving, and he said something about it not really have a plot, but I could see one if I squinted. I actually really enjoyed this piece. And because I took notes on it for my class, I have a lot to say.
One of the biggest things, is obviously that it represents a chess game, even by the title. I'm not a chess player, nor do I know chess language, but my professor explained most of it (the title, how Clov moves around the step ladder at some points is like moving chess pieces, and how Nell & Nagg's faces are very white, while Clov's and Hamms' are very red), and I know that sometimes chess can be a little slow moving, like life seems to be for these characters (and like the play itself). It ties in nice with the chess theme.
There were a few parts that I found very humorous for no apparent reason. It's more ironic because these characters contemplate laughing a few times throughout the play, but never actually do. There are three things I found funny:
Hamm: Sit on him!
Clov: I can't sit.
Hamm: True. And I can't stand.
I found myself smirking to myself when I read that part. Perhaps because it's such an odd thing, but the oddity does fit with this play. Another somewhat humorous part was when Hamm said "lick your neighbor as yourself," and it's basically just a parody of the saying "love your neighbor." The other funny part was when Nagg was giving his speech to Hamm about his boyhood and he says, "...we let you cry. Then we moved you out of earshot, so that we might sleep in peace." That part is just...so odd. It's like, what parent does that? But it struck me as humorous nonetheless.
The plot I saw if I squinted was just them basically waiting around to die. My professor said the setting in this reminded him "of a nursing home where the patients are just waiting to die." And then he said that he can just picture Samuel Beckett standing behind him whispering, "so are we." Life is always dying, and most of us are just waiting for it. On the first page, Clov says something is "finished, it's finished, nearly finished, it must be nearly finished." I feel like he's talking about his life. A few pages later, Hamm cries out that it must nearly finished too, and then asks Clov if "this thing" has gone on long enough - it really feels like they're waiting for death.
Another thing that was pointed out by my professor is the fact that Clov and Hamm discuss the fact that this is a play. On one page Clove asks what there is to keep him around, and Hamm replies with "the dialogue." On another page, Hamm says that there'll "be no more speech" and "it's time for his story" as if he had thumbed ahead in the script. On the last page of the play, when Hamm is talking, he pauses a lot and I got the feeling that he was almost reading from a script. Hamm always seems to be the one who brings up the script, and coincidentally the word "ham" means bad actor, according to my professor. So I found that interesting.
The whole thing represents the deterioration of humanity, I think. We have four characters in this piece -
1) Hamm, who can't stand up and who is blind.
2) Clov, who can't sit down and limps.
3) Nagg, who is going deaf
4) and Nell, who only has stumps for legs
That just further points out the theme of just waiting around to die. A quote that really stuck out to me was "the end is in the beginning and yet you go on." Overall, I found the concept/theme really interesting, and I'm glad I decided to read it.
My professor said this piece would be slow moving, and he said something about it not really have a plot, but I could see one if I squinted. I actually really enjoyed this piece. And because I took notes on it for my class, I have a lot to say.
One of the biggest things, is obviously that it represents a chess game, even by the title. I'm not a chess player, nor do I know chess language, but my professor explained most of it (the title, how Clov moves around the step ladder at some points is like moving chess pieces, and how Nell & Nagg's faces are very white, while Clov's and Hamms' are very red), and I know that sometimes chess can be a little slow moving, like life seems to be for these characters (and like the play itself). It ties in nice with the chess theme.
There were a few parts that I found very humorous for no apparent reason. It's more ironic because these characters contemplate laughing a few times throughout the play, but never actually do. There are three things I found funny:
Hamm: Sit on him!
Clov: I can't sit.
Hamm: True. And I can't stand.
I found myself smirking to myself when I read that part. Perhaps because it's such an odd thing, but the oddity does fit with this play. Another somewhat humorous part was when Hamm said "lick your neighbor as yourself," and it's basically just a parody of the saying "love your neighbor." The other funny part was when Nagg was giving his speech to Hamm about his boyhood and he says, "...we let you cry. Then we moved you out of earshot, so that we might sleep in peace." That part is just...so odd. It's like, what parent does that? But it struck me as humorous nonetheless.
The plot I saw if I squinted was just them basically waiting around to die. My professor said the setting in this reminded him "of a nursing home where the patients are just waiting to die." And then he said that he can just picture Samuel Beckett standing behind him whispering, "so are we." Life is always dying, and most of us are just waiting for it. On the first page, Clov says something is "finished, it's finished, nearly finished, it must be nearly finished." I feel like he's talking about his life. A few pages later, Hamm cries out that it must nearly finished too, and then asks Clov if "this thing" has gone on long enough - it really feels like they're waiting for death.
Another thing that was pointed out by my professor is the fact that Clov and Hamm discuss the fact that this is a play. On one page Clove asks what there is to keep him around, and Hamm replies with "the dialogue." On another page, Hamm says that there'll "be no more speech" and "it's time for his story" as if he had thumbed ahead in the script. On the last page of the play, when Hamm is talking, he pauses a lot and I got the feeling that he was almost reading from a script. Hamm always seems to be the one who brings up the script, and coincidentally the word "ham" means bad actor, according to my professor. So I found that interesting.
The whole thing represents the deterioration of humanity, I think. We have four characters in this piece -
1) Hamm, who can't stand up and who is blind.
2) Clov, who can't sit down and limps.
3) Nagg, who is going deaf
4) and Nell, who only has stumps for legs
That just further points out the theme of just waiting around to die. A quote that really stuck out to me was "the end is in the beginning and yet you go on." Overall, I found the concept/theme really interesting, and I'm glad I decided to read it.
March 13, 2022
this felt like my internal monologue : totally absurd and painful.
November 12, 2022
As with all revisited Beckett, much funnier than remembered. And still otherwise peerlessly brilliant.
'Better than nothing! Is it possible?'
'Better than nothing! Is it possible?'
May 31, 2014
The title is taken from that stage in chess wherein there are only few pieces so you cannot mate your opponent. This is the second play written by Samuel Beckett that I've read. It still felt very much like (3 stars) with it absurdity, strangeness and at some point senselessness. I have been reading the works of Samuel Beckett so I am used to his style and because of it, I still liked this play of his.
Unlike Godot however, I had to read the existing reviews of my friends here on 欧宝娱乐 because I wanted to get other people's interpretation of the play. There is one, and Beckett denied this, that says he thinks that the setting is post-nuclear war and I think I'd agree with this. Maybe Hamm cannot stand up because he and his legless parents Nell and Nagg are crippled because of radiation? But can't Clov stand? My romantic side at some point during my reading would like me to believe that this is about friendship like Vladimir and Estragon in Godot but here Hamm is consistently critical of Clov as if the later is the former's slave or inferior. However, they compliment each other because Hamm cannot stand and Clov cannot sit. I have not seen this play on stage so I cannot imagine but if I try to imagine about this, the post-nuclear war does enter my mind.
Fueling to this is the references that there is nothing outside the house and the legless parents are living in a dustbin.
I hope to see this play someday.
Unlike Godot however, I had to read the existing reviews of my friends here on 欧宝娱乐 because I wanted to get other people's interpretation of the play. There is one, and Beckett denied this, that says he thinks that the setting is post-nuclear war and I think I'd agree with this. Maybe Hamm cannot stand up because he and his legless parents Nell and Nagg are crippled because of radiation? But can't Clov stand? My romantic side at some point during my reading would like me to believe that this is about friendship like Vladimir and Estragon in Godot but here Hamm is consistently critical of Clov as if the later is the former's slave or inferior. However, they compliment each other because Hamm cannot stand and Clov cannot sit. I have not seen this play on stage so I cannot imagine but if I try to imagine about this, the post-nuclear war does enter my mind.
Fueling to this is the references that there is nothing outside the house and the legless parents are living in a dustbin.
I hope to see this play someday.
December 10, 2024
Not only one of Beckett鈥檚 but all of theatre鈥檚 highest points. Theatre of Absurdity rendered, like so much cooking fat (?)(hey, I don鈥檛 fucking know; I鈥檝e not eaten meat since 1991), down to its essentialist core. Hamm and Clov, hammer and nail, have never failed to delight and repulse me; handy trick for two ciphers of we humans en masse.
There aren鈥檛 words to ever express my soul鈥檚 (for absence of better word) love and adoration for Sam. He and Pynchon will always be my north and south poles, the axes that have kept me revolving, however flailing, for 47 turns around the sun. The older I get, the more I鈥檓 drawn to Sam鈥檚 arctic windlands
There aren鈥檛 words to ever express my soul鈥檚 (for absence of better word) love and adoration for Sam. He and Pynchon will always be my north and south poles, the axes that have kept me revolving, however flailing, for 47 turns around the sun. The older I get, the more I鈥檓 drawn to Sam鈥檚 arctic windlands
December 26, 2016
You're on earth, there's no cure for that!
August 16, 2022
Feels good to be reading Beckett again. This one is definitely harder to get into than Waiting for Godot. Pro tip: When I became frustrated I turned to the movie adaption from 2000 with David Thewlis in the role of Clov. It's brilliant and conveys the bleakness as well as the humor of the piece perfectly!
Much of the play鈥檚 content consists of terse, back and forth dialogue between the characters reminiscent of bantering, along with trivial stage actions; the plot is held together by the development of a grotesque story-within-a-story the character Hamm is writing. The play鈥檚 title refers to chess and frames the characters as acting out a losing battle with each other or their fate.
Beckett said that in his choice of character's names, he had in mind the word "hammer" and the word "nail" in English, French and German respectively, "clou" and "nagel", which is why the play's characters are called Hamm, Clove, Nagg and Nell.
Clov enters a dreary, dim and nondescript room, draws the curtains from the windows and prepares his master Hamm for his day. He says 鈥淚t鈥檚 nearly finished,鈥� though it is not clear what he is referring to. He awakes Hamm by pulling a bloodstained rag off from his head. They banter briefly, and Hamm says 鈥淚t鈥檚 time it ended.鈥�
Eventually, Hamm鈥檚 parents, Nell and Nagg, appear from two trash cans at the back of the stage. Hamm is as equally threatening, condescending and acrimonious with his parents as with his servant, though they still share a degree of mutual humor. Hamm tells his father he is writing a story, and recites it partially to him, a fragment which treats on a derelict man who comes crawling on his belly to the narrator, who is putting up Christmas decorations, begging him for food for his starving boy sheltering in the wilderness.
Clov, his servant, returns, and they continue to banter in a way that is both quick-witted and comical yet with dark, overt existential undertones. Clov often threatens to leave Hamm, but it is made clear that he has nowhere to go as the world outside seems to be destroyed. Much of the stage action is intentionally banal and monotonous, including sequences where Clov moves Hamm鈥檚 chair in various directions so that he feels to be in the right position, as well as moving him nearer to the window.
// Random things the attached biography in my edition of this book made me realise: Beckett was stabbed by a street pimp in Montparnasse and he won the Nobel Prize for Literature. Who can say that for themselves? Queen shit.
HAMM: Have you not had enough?Endgame is an absurdist, tragicomic one-act play about a blind, paralyzed, domineering elderly man, his geriatric parents and his doddering, dithering, harried, servile companion in an abandoned shack in a post-apocalyptic wasteland who mention their awaiting some unspecified 鈥渆nd鈥� which seems to be the end of their relationship, death, and the end of the actual play itself.
CLOV: Yes. [Pause.] Of what?
HAMM: Of this ... this ... thing.
CLOV: I always had.
Much of the play鈥檚 content consists of terse, back and forth dialogue between the characters reminiscent of bantering, along with trivial stage actions; the plot is held together by the development of a grotesque story-within-a-story the character Hamm is writing. The play鈥檚 title refers to chess and frames the characters as acting out a losing battle with each other or their fate.
CLOV: I say to myself that the earth is extinguished, though I never saw it lit.Endgame was originally written in French (entitled Fin de partie) and was translated into English by Beckett himself. Written before but premiered after Waiting for Godot, it is arguably among Beckett's best works. Samuel Beckett considered it his masterpiece as the most aesthetically perfect, compact representation of his artistic views on human existence, and refers to it when speaking autobiographically through Krapp in Krapp's Last Tape when he mentions he had 鈥渁lready written the masterpiece鈥�.
Beckett said that in his choice of character's names, he had in mind the word "hammer" and the word "nail" in English, French and German respectively, "clou" and "nagel", which is why the play's characters are called Hamm, Clove, Nagg and Nell.
Clov enters a dreary, dim and nondescript room, draws the curtains from the windows and prepares his master Hamm for his day. He says 鈥淚t鈥檚 nearly finished,鈥� though it is not clear what he is referring to. He awakes Hamm by pulling a bloodstained rag off from his head. They banter briefly, and Hamm says 鈥淚t鈥檚 time it ended.鈥�
Eventually, Hamm鈥檚 parents, Nell and Nagg, appear from two trash cans at the back of the stage. Hamm is as equally threatening, condescending and acrimonious with his parents as with his servant, though they still share a degree of mutual humor. Hamm tells his father he is writing a story, and recites it partially to him, a fragment which treats on a derelict man who comes crawling on his belly to the narrator, who is putting up Christmas decorations, begging him for food for his starving boy sheltering in the wilderness.
Clov, his servant, returns, and they continue to banter in a way that is both quick-witted and comical yet with dark, overt existential undertones. Clov often threatens to leave Hamm, but it is made clear that he has nowhere to go as the world outside seems to be destroyed. Much of the stage action is intentionally banal and monotonous, including sequences where Clov moves Hamm鈥檚 chair in various directions so that he feels to be in the right position, as well as moving him nearer to the window.
HAMM: You weep, and weep, for nothing, so as not to laugh, and little by litte ... you begin to grieve.By the end of the play, Clov finally seems intent on pursuing his commitment of leaving his cruel master Hamm. Clov tells him there is no more of the painkiller left which Hamm has been insisting on getting his dose of throughout the play. Hamm finishes his dark, chilling story by having the narrator berate the collapsed man for the futility of trying to feed his son for a few more days when evidently their luck has run out. Hamm believes Clov has left, being blind, but Clov stands in the room silently with his coat on, going nowhere. Hamm discards some of his belongings, and says that, though he has made his exit, the bloodstained rag 鈥渨ill remain鈥�.
HAMM: Nature has forgotten us.Endgame is an expression of existential angst and despair and depicts Beckett鈥檚 philosophical worldview, namely the extreme futility of human life and the inescapable dissatisfaction and decay intrinsic to it. It is also a quintessential work of what Beckett called 鈥渢ragicomedy鈥�, or the idea that, as Nell herself in the play puts it, 鈥淣othing is funnier than unhappiness.鈥� Another way to think about this is that things which are absurd can be encountered both as funny in some contexts and horrifyingly incomprehensible in others. To Beckett 鈥� due to his existential worldview 鈥� life itself is absurd, and this incurs reactions of both black mirth and profound despair.
CLOV: There's no more nature.
HAMM: No more nature! You exaggerate.
CLOV: In the vicinity.
HAMM: But we breathe, we change! We lose our hair, our teeth! Our bloom! Our ideals!
CLOV: Then she hasn't forgotten us.
HAMM: We're not beginning to... to... mean something?As Adorno famously put it: "To understand Endgame can only mean understanding why it cannot be understood." Rather than simply asserting an absence of meaning, the play strives to demonstrate this absence. It also embodies the human condition. Beckett knew how to capture what it meant to be human, he captured the tragicomedy that is all our lives. And for that, we remember him.
CLOV: Mean something! You and I, mean something! [Brief laugh.] Ah that's a good one!
// Random things the attached biography in my edition of this book made me realise: Beckett was stabbed by a street pimp in Montparnasse and he won the Nobel Prize for Literature. Who can say that for themselves? Queen shit.
November 21, 2018
賱丕 卮賷亍 賷卮亘賴 毓丕賱賲 亘賷賰賷鬲貙 毓丕賱賲 賯賱賯貙 賲囟噩乇貙 毓丕賱賲 賷鬲賰乇乇貙 賷鬲賳丕爻禺 亘賱丕 鬲賵賯賮貙 賲賷鬲貙 毓丕賱賲 賯丿賷賲 賰丕賱兀夭賱貙 賷鬲賵賰兀 毓賱賶 毓賳氐乇 丕賱賱丕噩丿賵賶貙 丕賱毓亘孬 丕賱賳賴丕卅賷貙 丕賱鬲賰乇丕乇 丕賱亘卮毓 貙 賲卮丕賴丿 賲賷鬲丞 鬲爻亘丨 賮賷 兀乇囟 丕賱賲爻乇丨貙 (賴丕賲) (賰賱賵賮) 丕賱賴丕卅賲賷賳 貙 賵卮禺氐賷丕鬲 兀禺乇賶 兀丿乇賰鬲 兀賳賴丕 賲賷鬲丞 亘丕賱賮毓賱 貙 賱丕 鬲賳鬲馗乇 卮賷卅丕賸貙 鬲爻禺乇貙 鬲毓亘鬲 賲賳匕 丕賱賯丿賲 賲賳 賴匕丕 丕賱毓亘孬 丕賱匕賷 賷噩乇賷 亘賱丕 賳賴丕賷丞 貙 (賳丕噩) (賳賷賱) 貙 賰丕賳丕 亘賱丕 兀賲賱貙 賷兀爻 賲爻鬲賲乇 賷亘毓孬 毓賱賶 丕賱囟丨賰 賵丕賱爻禺乇賷丞貙 賮賷 毓丕賱賲 賲賷鬲 丕賱賷兀爻 賴賵 胤乇賷賯 丕賱賳噩丕丞 丕賱賵丨賷丿丞 賵丕賱賲鬲賵賮乇丞 兀賷囟丕賸貙 (賴丕賲) 賷賳鬲馗乇貙 賲孬賱 噩賵丿賵貙 賷賳鬲馗乇 賮賷 氐乇丕毓 賲鬲賵丕氐賱 賲毓 丕賱賳賮爻貙 丕賱夭賲賳貙 丕賱賲賵鬲貙 丕賱廿賳鬲馗丕乇貙 丕賱賯賱賯貙 丕賱賲毓丕賳丕丞 丕賱賱丕賳賴丕卅賷丞 賲毓 丕賱毓賲賶貙 賰丕亘賵爻 賷鬲賰乇乇 賰賱 賷賵賲 賮賷 夭賲賳 賱丕 賷賳鬲賴賷 貙 (賰賱賵賮) 賷乇賷丿 兀賳 賷乇丨賱貙 賱丕 賲賰丕賳 禺丕乇噩 丕賱睾乇賮丞 丕賱賲囟噩乇丞貙 賰丌亘丞 鬲丨氐丿 賰賱 賲丕 賷丨氐賱貙 (賰賱賵賮) 賷乇賷丿 丕賱賴乇賵亘 廿賱賶 丕賱賱丕賲賰丕賳貙 (賴丕賲) 鬲賵賯賮 毓賳 丕賱兀賲賱貙 賷乇賵賷 丨賰丕賷丞 賯丿賷賲丞 賱賷爻丿 亘賴丕 噩賵毓 丕賱兀賲賱 丕賱賲鬲丨囟乇貙 丕賱賲賳鬲丕孬乇 賮賷 賮囟丕亍 丕賱毓丿賲貙 賷賯囟賷 丕賱賵賯鬲 賵賴賵 賮賷 廿賳鬲馗丕乇 丕賱禺賱丕氐貙 賴匕丕 丕賱賵丨卮 丕賱匕賷 賷鬲賮乇爻 丕賱噩賲賷毓 貙 丕賱賲賵鬲 賵丕賱賯丿乇 賷丨乇賰丕賳 賰賱 卮賷亍 賮賷 丕賱睾乇賮丞 丕賱賲賳賴賰丞貙 丕賱夭賲賳 丕賱氐賮乇 貙 丕賱鬲賰乇丕乇貙 賱丕 夭賲賳 賵賱丕 賲賰丕賳 賲丨丿丿貙 毓丕賱賲 匕賵 兀亘毓丕丿 囟賷賯丞貙 亘賷賰賷鬲 賷鬲爻賱賶 賮賷 鬲毓匕賷亘 囟丨丕賷丕賴 毓賱賶 丕賱賲爻乇丨貙 賷爻賱禺 賲賳賴賲 丕賱兀賲賱貙 賵丨鬲賶 丕賱賷兀爻 兀賷囟丕賸..
賲爻乇丨賷丞 賲噩賳賵賳丞 鬲亘毓孬 毓賱賶 丕賱爻兀賲 賵丕賱賴匕賷丕賳貙 毓亘賯乇賷 亘賷賰賷鬲 賮賷 鬲丨乇賷賰 卮禺氐賷丕鬲賴貙 賮賷 丕賱丨賵丕乇丕鬲 貙 賵賮賷 夭乇毓 毓丕賱賲 賰賴匕丕 賷禺鬲賱胤 賮賷賴 丕賱夭賲賳 亘丕賱賱丕卮賷亍 貙 丕賱兀賲賱 亘丕賱賷兀爻貙 丕賱賰丕亘賵爻 亘丕賱丨賯賷賯丞貙 睾乇賷亘 賴賵 賵賲鬲胤乇賮 亘賷賰賷鬲貙 賵睾賷乇 賯丕亘賱 賱賱賮賴賲 賰匕賱賰 ..
賲爻乇丨賷丞 賲噩賳賵賳丞 鬲亘毓孬 毓賱賶 丕賱爻兀賲 賵丕賱賴匕賷丕賳貙 毓亘賯乇賷 亘賷賰賷鬲 賮賷 鬲丨乇賷賰 卮禺氐賷丕鬲賴貙 賮賷 丕賱丨賵丕乇丕鬲 貙 賵賮賷 夭乇毓 毓丕賱賲 賰賴匕丕 賷禺鬲賱胤 賮賷賴 丕賱夭賲賳 亘丕賱賱丕卮賷亍 貙 丕賱兀賲賱 亘丕賱賷兀爻貙 丕賱賰丕亘賵爻 亘丕賱丨賯賷賯丞貙 睾乇賷亘 賴賵 賵賲鬲胤乇賮 亘賷賰賷鬲貙 賵睾賷乇 賯丕亘賱 賱賱賮賴賲 賰匕賱賰 ..
April 14, 2015
An absurd masterpiece
13 April 2014
One of the interesting things that I find about Beckett's plays is that he resists the temptation to offer any interpretation to what is going on within the play, or what the play is about. In fact he seems to do completely the opposite in actually denying certain interpretations (while not offering any reason as to what it is about). For instance, when asked if Godot is supposed to be God, his response is no, and asking whether Endgame is set in a post-apocalyptic world, once again his answer is no. However, the title of the play 'Endgame' suggests that this is a play about endings, but not any old endings, but rather an ending in which the protagonist does not want to accept has arrived.
The term Endgame applies to a part of a game of chess coming, surprisingly, at the end. It is suggested by some that at this part of the game the winner has already been defined, however the loser still struggles against all odds in a vain attempt at victory. In a way it plays well into this classic example of the theatre of the absurd with the idea of continuing one's existence, and fighting, despite the fact that one has lost and that there is no way out of that existence.
The main character within the endgame in the play is Hamm, a blind man who cannot stand and is entirely dependant upon his servant Clov (who cannot sit). While most of Hamm's interactions are with his servant Clov, there is an occasional interaction with Nagg and Nell, Hamm's parents, who are confined to a couple of barrels (and it is suggested sometime during the play Nell dies). In a way Hamm seems to vainly clasp on to an idea of hope despite the fact that, for him, the end has arrived; while Clov, the one who actually holds all of the power, is torn between leaving and staying 鈥� he desires to leave because Hamm is a demanding and cruel master, but he desires to stay because of his obligation to Hamm.
I feel that the question of whether the world is post-apocalyptic is a moot point because that, I believe, is beyond the scope of the play. However, there is the suggestion that there is nothing left 鈥� everything has gone, which brings us back to the question of whether the world is post-apocalyptic. This, in a way, plays into the theme of the title in that for those living in a post-apocalyptic world the end has arrived, however they are not quite there yet and are fighting a vain battle to not just survive, but to win. In another sense, it is a situation that we have brought ourselves into, and in a way we are blind to the fact that we are in that position.
Then there is the motif of blindness, which is something that doesn't seem to touch upon (this is actually a pretty decent website to consider the ideas that come out of various pieces of famous literature). In a way, just as the players in the Endgame may be blind to their predicament, Hamm is himself blind to his own predicament. He is the king of the piece but he is completely reliant upon Clov, who is the queen. Without Clov Hamm is defenceless. However he refuses to realise this and continues to push Clov around. However Clov is also in the same predicament in that there is nothing outside of the four walls of the room (just as there is nothing beyond the chessboard) and as such, while Clov may leave, there is nothing for Clov outside of the place. Thus for Clov to have any meaning, Clov must be here because, well, Clov is Hamm's servant, and that is the definition that he is given himself 鈥� without that definition Clov is effectively nothing.
I recently saw a permformance of this play, and have written up some further (and similar) thoughts on my .
13 April 2014
One of the interesting things that I find about Beckett's plays is that he resists the temptation to offer any interpretation to what is going on within the play, or what the play is about. In fact he seems to do completely the opposite in actually denying certain interpretations (while not offering any reason as to what it is about). For instance, when asked if Godot is supposed to be God, his response is no, and asking whether Endgame is set in a post-apocalyptic world, once again his answer is no. However, the title of the play 'Endgame' suggests that this is a play about endings, but not any old endings, but rather an ending in which the protagonist does not want to accept has arrived.
The term Endgame applies to a part of a game of chess coming, surprisingly, at the end. It is suggested by some that at this part of the game the winner has already been defined, however the loser still struggles against all odds in a vain attempt at victory. In a way it plays well into this classic example of the theatre of the absurd with the idea of continuing one's existence, and fighting, despite the fact that one has lost and that there is no way out of that existence.
The main character within the endgame in the play is Hamm, a blind man who cannot stand and is entirely dependant upon his servant Clov (who cannot sit). While most of Hamm's interactions are with his servant Clov, there is an occasional interaction with Nagg and Nell, Hamm's parents, who are confined to a couple of barrels (and it is suggested sometime during the play Nell dies). In a way Hamm seems to vainly clasp on to an idea of hope despite the fact that, for him, the end has arrived; while Clov, the one who actually holds all of the power, is torn between leaving and staying 鈥� he desires to leave because Hamm is a demanding and cruel master, but he desires to stay because of his obligation to Hamm.
I feel that the question of whether the world is post-apocalyptic is a moot point because that, I believe, is beyond the scope of the play. However, there is the suggestion that there is nothing left 鈥� everything has gone, which brings us back to the question of whether the world is post-apocalyptic. This, in a way, plays into the theme of the title in that for those living in a post-apocalyptic world the end has arrived, however they are not quite there yet and are fighting a vain battle to not just survive, but to win. In another sense, it is a situation that we have brought ourselves into, and in a way we are blind to the fact that we are in that position.
Then there is the motif of blindness, which is something that doesn't seem to touch upon (this is actually a pretty decent website to consider the ideas that come out of various pieces of famous literature). In a way, just as the players in the Endgame may be blind to their predicament, Hamm is himself blind to his own predicament. He is the king of the piece but he is completely reliant upon Clov, who is the queen. Without Clov Hamm is defenceless. However he refuses to realise this and continues to push Clov around. However Clov is also in the same predicament in that there is nothing outside of the four walls of the room (just as there is nothing beyond the chessboard) and as such, while Clov may leave, there is nothing for Clov outside of the place. Thus for Clov to have any meaning, Clov must be here because, well, Clov is Hamm's servant, and that is the definition that he is given himself 鈥� without that definition Clov is effectively nothing.
I recently saw a permformance of this play, and have written up some further (and similar) thoughts on my .
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